PREFACE

The double bassist often laments that the original

solo literature for his instrument is meager and wanting,
'and that he has nothing comparable to the rich heritage of
the violinist or pianist. It would appear that the double
bassist often protests, ignorant of much of the original
solo literature that does exist for his instrument. This
writer attended the first International Institute for the
Double Bass in Madison, Wisconsin, in June of 1967. The
Double Bass Concerto was the subject for one of the general
sessions at this convention. The Dragonetti-Nanny and the
Koussevitzky concertos were very masterfully performed, but
there was no discussion of either of these works, nor of
the double bass concerto in general. It was rather obvious
that very few attending the In&Litute were informed con-
cerning the original concertos ~or the double bass and this
writer was further conv J..nced of the value an.: Jtility of
his study of one major segment of double bas& ~iterature.

The studies of Burnet Tuthill, "The Concertos for the

Clarine~..," and "The Sonatas for Clarinet and Piano," as
found in Volumes X and XIV of the Journal of Research in
Music Education, served as a rn~ Jel for ti s focusing of
atter._~on on one portion of the solo literacure for the
double bass.

ii
 In pursuing this research, the writer has not dis-

covered any priceless monuments of music, but he has un-

covered a sizable repertoire of original solo concertos

for the double bass, many of them relatively unknown. The

obscurity of some of these works is warranted. Others,

however, are of a quality equal to, or perhaps superior to,

the more familiar concertos.

This writer has hopefully provided a practical guide

for the double bassist concerning the concerto literature

for his instrument. In preparing this catalogue, the writer

has not only acquired a greater knowledge of the literature

for his own instrument, but has become acquainted, through

correspondence, with several double bass players and

scholars of international reputation. First and foremost

among these is Mr. Rudolph Malaric of Vienna, Austria, a

music historian and the editor of much double bass music.

Through the kindness of Mr. Heinrich Schneikart, double

bassist of the Wiener Solisten, an introductory letter was

sent to Mr. Malaric in March of 1967. This letter was most

graciously acknowledged, and a lively correspondence en-
sued. This writer is indebted to Mr. Malaric for his

assistance in completing the list of concertos and in ob-

taining a substantial portion of the music.

Mr. Jacques Posell of the Cleveland Symphony Orchestra,

Mr. David Walter of the Faculty of the Manhattan School of

Music, and Mr. Oscar Zimmerman of the Faculty of the Eastman

iii
School of Music have all been most generous in lending music
from their personal libraries. At Mr. Posell 's sugge·stion,
the writer also corresponded with Mr. Frantisek Posta of
the Czechoslovak Philharmonic Orchestra and the Faculty of
the PraSue Conservatory, who very kindly provided a copy of
an obscPre work and some needed biographical information.
Mrj. Raymond Elgar of Sussex, England, author of three
books on the double bass, has been a source of encourage-
ment ana an authoritative voice in completing the final
I

list of works.
Hr. Gary Karr, double bass virtuoso, and a member or
the Faculties of the Juilliard School of Music, the New
England Conservatory, and the University of Wisconsin, and
Mr. Barry Green, principal double bass of the Cincinnati
Symphony Orchestra and member of the Faculty of the
Cincinnati College-Conservatory, have both been most help-
ful in the matter of contemporary American works.
The late Mr. Frederick Zimmermann was from the
beginning of this project until his death, very generous
with his time and knowledge.
In addition, several composers were contacted and
each responded to ·the inquiries, providing invaluable in-
formation~~ These composers are: Valentino Bucchi,
Fernand Marcel Fontaine, Othmar Klose, James Niblock,
,•

Fra.Dk Proto, Armand Russell, Eduard Tub in, and Burnet

Tuthill.

iv
 The following publishers and agents helped to locate
compositions and in some instances provided additional
biographical information: American Composers Alliance,
Associated Music Publishers, M. Baron Co., Boosey and
Hawkes, Inc., Ludwig Doblinger Musikhaus, Eble Music Co.
(Iowa City, Iowa), Carl Fischer, Inc., Music Lover's
Shoppe (Rochest~r, New York), Alphonse Leduc, McGinnis and
Marx, Gen Parchman, Pyraminx Press, G. Schirmer, Inc.,
Zanibon, and Editions Zuvini Zerboni.
The Library of the Curtis Institute of Music, the
Sibley Music Library of the Eastman School of Music, The
Free Library of Philadelphia, and the Boston Public Library
have all contributed to making this listing more complete.
The writer gratefully acknowledges the kindness and
guidance of his advisor, Mr. Everett Gates.
To his wife, Annette, the writer extends his gratitude
for unwaivering encouragement, and for the preparation of
the manuscript.

v
 TABLE OF CONTENTS

PREFACE • • • • • • • • • • • • • • • • • • • • • ii
mDEX OF CONCERTOS. • • • • • • • • • • • • • • • vii
CHAPTER I. HISTORICAL PERSPECTIVES • • • • • • • 1
CHAPTER II. AN ANNGTATED CATALOGUE OF ORIGINAL

CONCERTOS FOR THE DOUBLE BASS. • • • 10

CHAPTER III. ANALYSES OF TEN CONCERTOS • 0
• • • 92
APPENDIX. • • • • • • • • 0 • • 0 • • .143
BIBLIOGRAPHY. • • • • • • • • • • • • • • • • • .147-
 INDEX OF CONCERTOS

Abert, Johann Joseph Concerto in Drei Satzen. • • 11

Bille, Isaia Concerto in G • • • • • • • 12
Blatt, F.T. Concerto in B-flat • • • • • 13
j Bottesini, Giovanni /concerto in F-sharp minor. • 13
~Concerto No. 2 in H Moll • • 15
Concerto Di Bravura. • • • • 15
Grand Allegro Di Concerto. • 16
Concerto Per Contrabasso Nell'
Opera Beatrice Di Tenda. • • 1?
Concerto Ier Temps • • • • • 1?
Bucchi, Valentino Concerto Grottesco Per
Contrabasso E Archi • • • • • 18
Capuzzi, Giuseppi Antonio /Concerto for Double Bass • • 19
j CernY, Franz Concerto Pour La Contrabasse,
Op. 20. • • • • • • 20
Deuxieme Concert • • • • • • 21
Troisieme Concert. • • • • • 22
Quatrieme Concerte • • • • • 23
Cimador, Giovanni Battista!Concert in D • • • • • • • • 24

Conti, Sebastian Concerto for Double Bass and

Orchestra • • • • • 25
Creutzfeld Double Bass Concerto in A. • 26
Dauthage, Max Concert in B • • • • • • • • 26
Diedrich, Wilhelm Koncert (A Moll) in Einem
Satz. • • • • • • • 27
Dittersdorf, Karl D. / Konzert in Es-Dur. • e • • • 28
.; Konzert in E-Dur • 28 . . ,.
8e "' e
n
• •
Dragonetti, Domenico- Concerto, Op. 1. • • • • • • 29
Concert, Op. 2 • • • • • • • 30
A Famous Concerto. • • • • • 31
My Favorite Concerto • • • • 31
Grande Concerto. • • • • • • 32
Original Concerto No. 2. • • 33

vii
Dragonetti (continued) Conzert in A, No. 3 • • • • • 33
Concerto No. 4 in E • • • • • 34
Concerto Pour Contrebasse A
Cordes et Piano. • • 35
Findeisen, Theodore Albin Konzert, Op. 15 • • • • • • • 36
/ Konzert Fiir Kontrabass (in
Einen Satz) Op. 25 • 36
Fontaine, Fernand Marcel / Concerto Pour Contrebasse
'A 4 Ou 5 Cordes Avec Accom-
pagne De Piano Ou D'Orchestre 92
Franke, A. Concerto Piccolo. • • • • • • 37
Geier, Oscar ~
..
Konzert Fur Kontrabass und
Orchester, Op. 11 • 38
Geissel, Johann Concert FUr Contrabass,
Op. 32. • • ~ ~ • • 39
Girotto, V. Faust Concerto • • • • • • • • 40
Grant, Parks Integrated Concerto . . . ••
" 40

Hassler, Louis Concerto in C minor, Op. 14 • 41

Hause, Wenzel Concerto in D major • • ~ • • 42
Haydn, .F .J. Konzert FUr Kontrabass • • • • 43
Henze, Hans Werner Concerto Per Contrabasso,
1966. • • • • • • • 96
Hertl, Frantisek J Concerto Per Contrabasso Ed
Orchestra • • • • • 44
H1ndle, Johann J. Concerto in B-flat. • • • • • 45
Hoffmeister, F.A. Jconcerto No.1 in E-flat • • • 45
Konzert No. 2 in D. • • • • • 46
Holzbauer, Ignace Concerto. • • • • • • • • • • 47
Hrabe, Joseph ,; Concert • • • • • • • • • •• 47
Huber, Joseph Concerto for Double Bass. • • 48
Klose, Othmar Concert in A FUr Contrabass
U. Orchester, Op. 18, 1950 •• 48

viii
Kohaut, Karl j Concert Fiir Contrabass Und
Orchester •· • • • • • 49
Kohl, W. Concerto for Double Bass. • • 50
Kolb, J. Concert in E. • • • • • • • • 50
Koussevitzky, Serge J Concerto, Op. 3 • • • • • • 101
Kucbynka, Voyta Concerto No. 1 for Double
Bass • • • • • • • • 51
Lancen, Serge Concerto Pour Contrabass et
Cordes • • • • • • • 51
Laska, Gustave Concert FUr Den Contrabass
Mit Orchester Begleitung • • • 52
Lauber, Joseph Concert for Double Bass and
Orchestra. • • • • • 53
Lorenzitti, Joseph Antoine Concerto for Double Bass • • • 54
Lotter, Adolf Concerto in A minor • • • • • 54
Madenski , Eduard Concerto for Double Bass. • • 54
Mann, Christoph Concerto for Double Bass. • e 54
Marangoni, Giuseppi Concerto in La Maggiore,
Op. 47 • • • • • • • 55
Maschek, Vincent Concert in D. • • • • • • • • 56
Mengoli, .Annibale Concerto No. 1 • • • • • • •• 56
Concerto No. 2. • • • • • • • 56
Miari, Giangiacome Concerto Per Contrabasso E
Orchestra D' Archi. • • • • • 57
Michna, .Annibale Concerto for Double Bass. • • 57
Miglietta, Giovanni Piccolo Concerto. • • • • • • 58 ...,.

Montag, Lazlo Micro Concerto. • • • • • • • 58

Morbiducci, Angelo Concerto in Re Minore 1936. • 58
Moser, Franz Konzert FUr Kontrabass Und
Orchester. • • • • • 59

ix
Munot, Felician Premiere Concerto • • • • • • 60
Nanny, Eduaurd J Concerto Pour Contrebasse Et
Piano • • • • • • •• 62
Niblock, James Concerto For Double Bass And
Orchestra. • • • • .105
Piehl, Wilhelm JStudienkonzert FUr Kontrabass
Und Orchester (Conzert No. 1) 63
Conzert No. 2 FUr Contrabass
Und Orchester. • • • 64
Pockh, Eduard Concerto Brevis • . •. • • • • 65
Paradowski, Stefan J Koncert, Op. 26 • • • • • • .109
Proto, Frank -!Concerto for Double Bass And
Orchestra (1968) • • 66
Reinhardt, Franz Concerto in F-sharp minor • • 67
Rohrig, Emil Konzert FUr Kontrabass. • •• 114
Russell, .Armand Harlequin Concerto for
Double Bass and Orchestra • .119
Safranski, Eddie Concerto for Bass • e • • • • 68
Schuller, Gunther Concerto for Double Bass and
Chamber Orchestra. • 69
Schwartz, Peter Concerto for Double Bass and
Piano. • • • • • • • 70
Scontrino,·Antonio Concert FUr Dem Contrabass
Mit Orchester • • • • 70
Sif'onia, Firmino Concerto for Double Bass with
Accompaniment of Winds and
Percussion • • • • • 72
Simandl, Franz Konzert, 0p. 75 • • • • • • • 72·
Sommer, Mn Concerto No. 1 in E • • • • • 73
Sperger, Johann Matthias Concerto No. 1 in E-flat
major. • • • • • • • 73
Concerto' No.2 in B-tlat
major. • • • • • • • ?3

X
J Sperger (continued) ~Concerto No. 3 in A minor • .125
Concerto No. 4 in F major • • 74
Concerto No. 5 in E-flat
major. • • • • • • • 74
Concerto No. 6. • • • • • • • 75
Concerto No. 7 in E-flat
major. • • • • • • • 75
ConcertoNo. 8 in .A. major • • • 75
Concerto No. 9 in G major • • 76
Concerto No. 10 in D major. • 76
Concerto No. 11 in E-flat
major. • • • • • • • 77
Concerto No. 12 in D major •• 78
Concertos No. 13 - 18 • • • • 78
Stami tz, Karl ~Concerto in Re Maggiore, Op.l 78
Storch, Emanuel Concerto for Double Bass. • • 79
Teubner, Herbert Konzert E-moll FUr Kontrabass
und.Piano • • • • • • 79
Tubin, Eduard Concerto for Double Bass and
Orchestra. • • • • .130
Tuthill, Burnet ~Concertofor String. Bass and
Wind Orchestra, Op. 46. • • .137
Valls, Pedro Concerto De Contrabajo
"Las Chifl aduras De Un" • • • 80
Vanhal, Johann Baptist / Konzert FUr Kontrabass und
Orchester. • • • • • 82
Vecsey, Jeno Konzertant Musik FUr Kontra-
bass U. Kammerorchester Oder
Klavier. • • • • • • 83
Wallner, Curt Konzert FUr Kontrabass und
Orchester. • • • • • 84
Weiller, Ernest Concerto No. 1 in G (1912) •• 85
Duexieme Concerto in Re Majeur
Op. 308. • • • • • , 85
Werner, A, Concerto for Double Bass. • • 86
Werther, Franz Concerto !or Double Bass. • • 86
Winsel, Louis "Concerto" No. 1 in C major • 86
"Devil's Concerto in A. minor. 8?
Wrba, Franz Concerto in D • • • • • • • • 88
Wuorinen, Charles Concert for Double Bass
Alone, 1961 •• • • • 88
Zimmermann, Franz Anton 1. Concert in D. • • • • • • 89
2. Concerto. • • • • • • • • 90

:rli
 CHAPTER I
HISTORICAL PERSPECTIVES

Unlike the violin and the cello, the double bass has

been relatively unstandardized throughout its history. Its

body structure; number of strings, tuning, bows, and left-

hand technique have varied with time and place. Prior to

the last quarter of the nineteenth century the bass string

instruments within a given orchestra might vary rather

widely in the matter of stringing and tuning. These diver-

gent instruments would conceivably have anywhere from three

to six strings and be tuned in various intervals, depending

on the left-hand technique that the player might have de-

veloped. Earlier in the nineteenth century the four-string

instrument, tuned in perfect fourths, began to take prece-

dence over the others. A compromise between the more power-

ful three-string double bass and the five-string instrument

of greater range, it was in use first in Germany and the

Slavic nations. In 1832 the Paris Conservatory officially

adopted the four-string instrument tuned in fourths, and by

1860 most Italian conservatories had made a similar adoption.

England was perhaps the last country to accept the four-

string double bass. This occurred around 1900, and thus an

international state of quasi-standardization in tuning was

achieved.

1
 Despite this late development of the modern double

bass, there has accumulated a sizable idiomatic literature

for the instrument. Much of this music was composed for

didactic purposes by professors of the double bass in

various European conservatories. The few solo virtuosos of

the double bass that have appeared, composed for their own

concert and recital purposes. More well-known and estab-

lished composers have also contributed to the repertoire.

Within this body of literature for the double bass

there are some solo concertos. When this writer first con-

ceived the idea of a study of the original solo concertos,

excluding transcriptions, it was thought the number might

run to twenty or twenty-five. Initially a list was made of

original works specifically carrying the title ·"Concerto."

This list was drawn from the Comprehensive Catalogue of

Available Literature 12£ the Double Bass by Murray Grodner.

To this list were added some further entries from String

Music 1n Print by Margaret K. Farish. This initial com-

pilation reached a total of thirty-eight original works.

Further research has steadily increased this number until it
reached a total of 127 concertos and there are no doubt more

concertos by more or less obscure composers that have es-

caped the writer. Of these 127 concertos, it has been

possible to obtain 79, either in printed form, in manu-

script, or various types of reproduction: Xerox, Ozalid,

or microfilm. A number of these,concertos were published

 3

for a limited period of time and because the demand for

them was not too great, their publication was terminated.
The ravages of time, two world wars, and the dislocations·
during and following these conflagrations, have resulted in
the destruction of others of these works. With some, it has
been possible to verify their existence only through listings
in the catalogues of ,libraries, or out-of-date catalogues of
publishers. Still others were never published, and exist
only in manuscript.
Every effort has been made to uncover all of the solo
concertos for the double bass, no matter how obscure the
works or composers might be. In the case of some concertos
which have been brought to the attention of the writer,
either in research or by personal correspondence, it has
been impossible to produce any tangible evidence of their
existence. These works are listed without comment. Because
the number of concertos proved to be rather large, it was
decided to include only works so titled, thus excluding con-
certinas and concert pieces.
In cataloguing the concertos, the writer has graded as
to difficulty those works which he was able to examine.
Each has been placed in one of four rather broad classifi-
cations: Easy, Moderately difficult, Difficult, and Very
difficult. This grading was determined by three factors;
technical difficulty, musical complexity, and the.physical
endurance demanded by the technical problems and the length
 4

of the work. The writer, relying on his many years of

study, professional playing, and teaching, has endeavored

to be objective in arriving at a grade for each work.

However, such judgments are of necessity somewhat subjective

and therefore liable to a degree of personal bias.

The earliest verifiable date for the composition of a

double bass concerto is 1778. Johann Matthias Sperger (1750-

1812) performed a concerto of his own composition on December

1
20, 1778. Which of these concertos of Sperger, cannot be

determined for there are eighteen such compositions by this

man listed in the Kade catalogue. 2 It is possible and

probable that Dittersdorf wrote his concertos for Pichel-

3
berger around 1765. Ignace Holzhauer (1711-1783), belonged

to an earlier generation, but there is no confirmation of

when his concerto was written. F.A. Hoffmeister (1754-

1812), Karl Kohaut (1736-1800), Wilhelm Piehl (1741-1804),

Karl Stamitz (1746-1801), Johann Baptist Wanhal (1739-1813),

and Anton Zimmermann (1741-1781}--all lived around this same

time and wrote concertos for the vio1one or double bass, but
the writer has found no confirmation of specific dates of
1
Friedrich Blume, ~ Musik in Geschichte ~ Gegenwart,
(14 vols.; Kassel und Basel: Barenreiter-Ver1ag, 1949-
1968), XII, 1031-1032.
2
otto Kade, ed., Grossherzogliche Regierungsbibliothek,
(3 vols.; Schwerin: Sandrneyerschen Hofbuchdruckerei, 1893),
II, 239.
3
Robert Eitner, Quel1en-Lexikon der Musiker und Musik-
gelehrten, (10 vols.; Leipzig: Breitkopf und Hartel, 1902),
VII, 483.
 5
composition for the double bass works of any of these com-

posers. A concerto for double bass by Franz Joseph Haydn

apparently did exist at one time. It appears in three early

catalogues of Haydn's works. The date of composition is un-

known. Hoboken gives the incipit in his thematic catalogue

4
but lists the work as lost. The most recent concertos

are those of Gunther Schuller and Frank Proto. The former

received its premiere in June of 1968 and the latter re-

ceived its premiere in February of 1969.

The matter of the tuning of the double bass is very

important in any discussion of solo writing for this in-

strument. The fact that the number of strings and the in-

tervals of tuning have varied over a period of years makes

this a rather involved study. The concertos of the eight-

eenth century were possibly written for the violone of five

or six strings. It is quite possible that the highest string

of a violone might have been tuned as a minor seventh or an

octave higher than the highest (or ~) string of the modern

double bass. It appears that the player tuned the instru-

ment to accomodate the music and his own technique. This
adjustment in tuning was true not only of the violone but
also of the three and four-string double bass. As an
example, the two concertos of Dittersdorf were both

4
Anthony van Hoboken, Joseph Haydn Thematisch-bibliographisches
Werkverzeichnis, (2 vols.; Mainz: B. Schott's s8hne, 1957),
I, 523-533.
 6

originally in the key of E-flat.

5 The solo part was

notated in C for a four-string tuning of

?: P• • I or
P±
.
lpe
2:
possibly a six-string tuning of ~ ~."
'5 .....
(The reader is reminded that most double bass notation is an

octave higher than actual pitch.) The current editions of

these works published by Schott show how this practice con-

.
t 1nues .
1n our own t.1me. 6 The first concerto, which was

originally for violone, is now edited for double bass. It

, •••• b'
. • it ..
is still in E-flat, but with a tuning • The

transposed to E with solo tuning

-,: ... ....
second concerto, which was originally for double bass, is

• In the

case of both of these, the solo part is notated in D which

results in E-flat in the first instance and E in the second

instance. The manuscripts of Domenico Dragonetti (1763~

1846) do not indicate what tuning adjustments this great

virtuoso made, if any. Carse maintains that Dragonetti
7
customarily tuned in fifths. It is presumed that tuning

in this case was A, D, G; however, it is possible that

Dragonetti actually tuned G, D, G, using mostly a four-

5otto Kade, ed., Grossherzoqliche Regierungsbibliothek,

(3 vols.; Schwerin: Sandmeyerschen Hofbuchdruckerei, 1893),
II, 237.
6
Karl von Dittersdorf, Konzert in Es dur fur Kontrabass, arr.
by Ludwig and Franz Jaeger (Mainz:--B:-5ch0tt•s Sohne, 1927),
and Konzert ~ ~ ~' arr. Franz Tischer-Zeitz (Mainz:
B. Schott's Sbhne, 1938).
7Adam Carse, The Orchestra from Beethoven to Berlioz,
(Cambridge: w:-Heffner and Sons, Ltd., 1948), 394.

".-·
 7

finger left-hand technique. It is probably safe to assume

that, like other players of the time, he also tuned accord-

ing to the exigencies of the occasion. The modern editions

of his works are for solo tuning.

In the late nineteenth century, with the demise of the

three-string double bass, and the more or less established

practice of tuning in perfect fourths, the intonation was

fairly well stabilized in three categories~ Orchestra

tuning Solo tuning ;

=tt•
and High solo tuning • • When in this high
•
solo tuning, the instrument is sometimes called the Bass
8
Baritone or Bariton-Violon. Of the three, the high solo

tuning has been least used. At present, solo literature is

published almost exclusively in either orchestra tuning or

solo tuning, the latter being the more common. The tuning

is usually indicated on the solo part, if for solo tuning,

by • • • In the case of solo tuning the notation

:Efi
is a whole tone lower than the desired written pitch and a

minor seventh higher than the desired sounding pitch. There

are some exceptions to this practice where the notation is

in the desired sounding octave, but still a whole step below

desired pitch.
There is a certain amount of confusion regarding the

compositions of Domenico Dragonetti and Giovanni Bottesini,

8
Friedrich Warnecke, Ad Infinitum-Der Kontrabass, (Hamburg,
Germany: ·ay the Author, 1909), 22:--
 s.
the two more famous double bass virtuoso composers.

Dragonetti left a sizable amount of music~ almost all in

manuscript and partly in his own hand. Many of these manu-

scripts were given to the British Museum by Dragonetti's

close friend, Vincent Novello, founder, in 1811, of the

English publishing house. Other Dragonetti manuscripts are

located in various parts of Europe. Some are in libraries

and are available to the public, while others are in rather

closely guarded private collections. The manuscripts are

fragmentary and have never been carefully catalogued.

Mr. Rudolph Malaric of Vienna, music historian and editor of

double bass music, has devoted some study to the available

manuscripts and has established that there are possibly eight

solo concertos by Dragonetti. This may include some that are

in reality pasted together from par~s of multi-movement

divertimentos. This does not include the Concerto 1n ~'

edited by Eduaurd Nanny. 9 This concerto is not found in the

available manuscripts, and now is considered by such

authorities as Mr. Malaric, Mr. Raymond Elgar, and the late

Mr. Frederick Zimmermann, to be spurious. It is thought to

be the work of someone else, possibly M. Nanny himself, and

is an attempt at writing in the style of Dragonetti.
The writer has found five solo concertos by Giovanni

Bottesini, one in F-sharp minor, No. 2 in B minor, the

9 oragonetti (E. Nanny), Concerto, (Paris: Alphonse Leduc

and Cie., 1925).
 9-

Concerto di Bra~Jra, the Grande Allegro di Concerto, and

the Concerto ~· Opera Beatrice di Tenda. A sixth one-
movement concerto in B minor is merely a transcription of
the first movement of the F-sharp minor concerto. In the
one-movement form, first edited by Eduaurd Nanny, the piece
is transposed down a perfect fourth in notation for
orchestra tuning which accomplishes a·tonal transposition of
a perfect fifth. This arrangement also shortens and sim-
plifies the movement to some extent.
 10

CHAPTER II
AN ANNOTATED CATALOGUE OF ORIGINAL SOLO CONCERTOS

The information in this catalogue is listed in the

following order: Composer, biography (when available),

title of composition, publisher (including publication

number and date when known), grade of difficulty, avail-

ability of orchestration and/or piano accompaniment, tuning

of the double bass, and an incipit of the solo part. Each

movement is described as to meter signature, tempo markings,

number of measures, key or tonality, and form. The forms

of the various movements are described by several rather

inclusive terms: Binary includes all decidedly two-part

forms; ternary refers to a rather wide range of tripartite

movements; rondo includes everything from three-part

pieces specifically entitled Rondo, through those often con-

sidered as augmentations of second and third rondo forms;

sonata form is used to describe movements in which there is

an exposition, a decided period of development of material

and recapitulation, and is synonymous with the often-used

term, Sonata-Allegro. Other movements are in variation

forms and some are in free form. Additional information,

including comments on the work, dedications, and instrumen-

tation of available orchestral scores completes the infor-

mation. A guide to the publishers is found in Appendix I.

 11

_Complete biographical sources are included in the bibli-

ography.

Abert, Johann Joseph (1832-1915)

Bohemian double bassist, conductor, and composer.
Father of Hermann Abert. Studied at the Prague Conserva-
tory. Received the post of double bassist in the theatre
orchestra, Stuttgart, 1852. Succeeded Eckert as Kapel1-
meister, Stuttgart, 1867. Retired, 1888. Wrote three
symphonies, a symphonic poem, five operas. (See Grove's
Dictionary, Vol. I, p. 12.)
II

CONCERT IN DREI SATZEN

Schmidt 2085 3310 (Simand1 Adv. Sch. Vo1 •. II).
Difficult.
Orchestration unavailable. Piano accompaniment
available.
Tuning:
•

Moderato maest~

?t- 1' u ,rrrfll r],@l$7~ftu,rrwr $1&/

-t

I. 4/4, Moderato maestoso, 138m., D major, rondo.

II. 4/4, Adagio, 62 m., G major, binary. III. 2/4,
Allegretto, 172m., D m~jor, rondo.
There is no break between the first movement and the
 12

second movement which is quite lyrical. The final movement

is much like the first in its sequential use of scales and

arpeggios. The concerto concludes with a short coda of

further technical display. This is not a very interesting

work, musically nor technically.

Bille, Isaia (1874-1962)

Italian double bassist. Born in Firma, studied at

the conservatory there and later at the Rossini Conserva-

tory in Pesaro. Concertized with the double bass in Europe

and the u.s. Miraculously escaped with his life in the

San Francisco earthquake of 1906. Taught at the Cherubini

Institute, Florence, and the St. Cecelia Academy, Rome.

Published much double bass literature, including a multi-

volume tutor. (See Schmidl Dizionario Universale, Vol. I,

p. 185.)

CONCERTO IN G (1934)

Pizzi, or Ricordi, E.R. 1612. Moderately difficult.

Orchestration unavailable. Piano accompaniment

available.
Tuning:
•
 13

I. 4/4, Allegro mosso, 1~9 m., G major, sonata form.

II. 3/4, Andante, 81 m., E minor, ternary. III. 2/4,

Allegro, 234m., G major, ternary.

Lyrical in style with melodic transformation between

·movements.

Blatt, F.T.

No biographical information available.

CONCERTO IN B-FLAT

Not available for examination.

Bottesini, Giovanni (1821-1889)

Italian conductor, composer, and double bass virtuoso.

Born in Parma and educated at the conservatory there. Con-

ducted in Europe, Central and South America, and Egypt, in-

cluding the premiere of Verdi's Aida, Cairo, 1871. Com-

positions_ for double bass and several operas. Double bass

virtuoso for over fifty years in Europe anq North and South

America. Appointed head of the Parma Conservatory, 1889.

Di~d soon after assuming the post. (See Elgar, More About
the Double Bass, pp. 74-87.)

CONCERTO IN F-SHARP MINOR (STUDIENKONZERT FIS-MOLL)

LaFleur, Xerox from this writer, Hofmeister 7290,

ed. H. Hermann, 1959. MS Torello bequest, Curtis

Institute of Music, Philadelphia, Pa., arr. Meriz.

Difficult.

Orchestration unavailable for LaFleur and Hofmeister,

 14
available for Meriz. Piano accompaniment available

for LaFleur and Hofmeister, unavailable for Meriz.

Tuning:
LaFleur

Hofmeister
and Meriz
.,...
Allegro moderato

I. 3/4, Allegro moderato, 334m., (Meriz, 284m.), F-sharp

minor, sonata form. II. 4/4, Andante, 61 m., (Meriz,

60 m.), D major, ternary. III. 4/4, Allegro con fuoco,

258m., (Meriz, 243m.), A major, sonata form.

Quite a demanding work for the technique throughout.

Some slow bow and group staccato difficulties in the slow

movement, but greatest demands on the left hand technique.

The LaFleur and Hofmeister editions are exactly the same,

including the cadenza, except for the tuning of the double
bass. The Meriz edition differs greatly in that the work
is shorter, the cadenza is different, and the orchestral
part is almost totally different from the piano scores of
the other editions.

Meriz instrumentation 1-2-2-2; 2-2-0-0; tym.; strgs.

 15
CONCERT NO. 2 IN H MOLL

Ars Viva Verlag, ed. Rudolph Malaric, 1951. Very

difficult.

Orchestration unavailable. Piano accompaniment

available.

Tuning:
•

Allegro moderato
\Cl-H-e..-\+o '"tAlc.) 3 >~ ...--;::---.... ---------=---

I. 4/4, Allegro moderato, 137m., B minor, sonata form•

II. 6/8, Andante, 68 m., G major, ternary. III. ¢,

Allegro, 245 m., B minor, sonata form.
All three movements are technical displays abounding

in arpeggios and scales. This is a very fatiguing work

for the player and of questionable musical value.

CONCERTO DI BRAVURA
Ars Viva Verlag A996V, ed. Rudolph Malaric, 1951.
Very difficult.
Orchestration unavailable. Piano accompaniment
available.
Tuning:
 16

Andante mosso
Q. l' .... ~..~.. ~ . f

I. 6/8- 3/4, Andante mosso- Allegro moderato, 130m.,

A major, theme and variations. II. 4/4, Andante, 47 m.,
E major, ternary. III. 2/4, Allegretto, 114m., A major,
air varie.
This is a piece for technical display characterized
by cadenzas and quasi-cadenzas. Although technically de-
manding, it is rather shallow music.
GRANDE ALLEGRO DI CONCERTO, OP. POSTHUMOUS
Doblinger (Ozalid) MR 21266, arr. Rudolph Malari~,
1956. Difficult.
Orchestration available. Piano accompaniment avail-
able.
Tuning:

Allegro

I. 4/4, Allegro, 335m., E minor, sonata form.

Another composition of Bottesini with much technical
display. Not so difficult as the B minor and Bravura £2n-
certos and more compact in form. Rewarding in proportion
 17
to the technical demands.

Instrumentation unknown.

CONCERTO PER CONTRABASSO NELL'OPERA BEATRICE DI TENDA

MS. Difficult.

Tuning: ,
Orchestration unknown.
..
•
Piano accompaniment available.

Allegro

,:~c rF I f~ 7 g 1f, Ef f F1Pz f'f t\ ~ pr

I. 4/4, Allegro, 51 m., A major, air and recitative.
II. 4/4, Adagio, 34m., A major, binary. III. 4/4,

Allegro, 145 m., A major, variations.

The movements of this concerto are contiguous. The

style is bravura and musical content is very limited. Only

the piano score for this concerto is found in MS in the

Torello bequest in the Library of the Curtis Institute of

Music, Philadelphia, Pa.

CONCERTO Ier TEMPS
Leduc A.L. 16964, ed. Eduaurd Nanny, 1925,
International 2101, ed. Stuart Sankey, 1963. Moderately
difficult.

Orchestration unavailable. Piano accompaniment avail-

able for both editions.

Tuning:
 18

Allegro moderato

2:~$ ~r f lf}~T[j IF S1Sr I r~z

I. 3/4, Allegro moderato, 233 m., B minor, sonata form.

This is a transcription of the first movement of the

F-sharp minor concerto. It is transposed down a fifth and

somewhat shortened. This is a rather effective piece and

worth the effort.

Bucchi, Valentino (1916- )

Italian composer, born in Florence. Studied com-

position with Dallapiccola. Music critic and radio con-

sultant in Florence 1945-1948. Works include a chamber

opera,~ Virgine dei Veleni (1939), and a one-act opera-

grotesco, Il Contrabasso, after Chekhov (1945). (See
Baker's Biographical Dictionary, p. 222.),
CONCERTO GROTTESCO PER CONTRABASSO E ARCHI

Zerboni s. 6703 z., 1967. Difficult.

Orchestration available for purchase. Piano re-

Tuning: ,. .
duction available.

0 •

Allegro non troppo

~ ~ '; M ( ..s+~ec:.. Cllto. ~o...de.)

:t-$,~ I~:EJ I~~JW I~ iJd I~" !till¥

 19

I. 2/4, Allegro non troppo, 306m., modified &onata form.

The development of this twelve-tone work takes the

form of a short scherzo and the recapitulation is almost

literal. The formal structure is dependent on linear

aspects rather than harmonic considerations. There is a

senza mesura section in the scherzo which makes rather ex-

tensive use of natural harmonics. Due to the percussive

nature of this work, the demands on the right-hand tech-

nique exceed those of the left. A mature musicianship is

more important in playing this concerto than technical

prowess. Thematically, the work is related to Bucchirs

opera-grotesco, 11 Contrabasso. The material from the

opera appears in the concerto, Solo part p. 2, mm. 23-27,

and p. 12, mm. 12-16.

Instrumentation vln. I a3, vln. II a3, vla. a2, vel.

a2; xylo. (or piano). Xylo. uses only one tone, d''''•

Capuzzi, Giuseppi Antonio (1775-1818)

Italian violinist, pupil of Tartini and Bertoni.

Violinist at St. Mark's in Venice. Went to London in 1796,
met with great success. Composed ballets, operas, cantatas,
and a considerable amount of chamber music. (See Grove's
Dictionary, Vol. II, p. 56.)

CONCERTO FOR DOUBLE BASS

Boosey and Hawkes 8191, ed. Francis Baines, 1938.

Moderately difficult.
 20

Orchestration available for rental. Piano.accompani-

Tuning: , -.
ment available.

..

Allegro moderato

:b c J 1
~
f~a tl1 ura 1rara1au~ ~ ~~
I. 4/4, Allegro moderato, 204m., F major, sonata form.

II. 3/4, Andante cantabile, 93 m., C major, rondo. III.

2/4 Allegro, 215m., F major, rondo.

This is one of the least demanding concertos, and may

be considered a "student concerto," but it is a good piece

and rewarding for the player. Originally in D major, a

sixth higher, this concerto is found among the Dragonetti

manuscripts in the British Museum (MS Add. 17834).

Instrumentation unknown.

If/ I
Cerny, Franz (1861-1939)
Bohemian double bassist. Studied at the Prague Con-
servatory and in Paris. Became Professor of double bass at
the Prague Conservatory in 1900, where for thirty-two years
he educated an entire generation of bassists who performed
throughout the world. (See Warnecke, ~ Infinitum ~

Kontrabass, p. 83, and~ Bass Sound Post, Vol. 6, No. 6,

p. 6.)

CONCERTO POUR LA CONTRABASSE, OP. 20 IN A MAJOR

 21

Forberg 6318, 1911. Difficult.

Orchestration unavailable. Piano accompaniment avail-

able.

Tuning:
•

I. 3/4 - 4/4, Allegro vivace- Allegro con brio, 228m.,

A major, binary. II. 3/4, Andante tranquillo, 115 m.,

E minor, ternary. III. 4/4, Allegro appassionato, 199m.,

A major, binary.

The last movement of this concerto is a recapitulation

of the first movement. Both movements consist of several

melodic ideas and each idea is treated separately and

similarly. The first movement is attached to the second by

means of a short scherzo at the end of the coda. The final

movement contains a rather long cadenza which includes some
difficult double stops. The work is technically difficult
but musically fragmentary and monotonous.
'
DEUXIEME CONCERT

Hoffman, 1922. Difficult.

Orchestration unavailable. Piano accompaniment avail-

able.
 22

Tuning:
•

Allegro

""~· f~ ~
I. 4/4, Allegro, 284m., F-sharp major, sonata form.

II. 4/4, Andante quasi adagio, 217m., E major, ternary.

III. 3/4, Allegro energico, 398m., F-sharp major, ternary.

The style is similar to the first concerto, but more

chromatic. The final movement seems to begin in C-sharp,

shifts to several definite key centers, and finally arrives

at F-sharp major in the coda. It is a more interesting

work than Opus 20, and perhaps the best of the four con-

certos. There is no formal cadenza.

'
TROISIEME CONCERT

Hug (no date). Very difficult.

Orchestration unavailable. Piano accompaniment avail-

able.
Tuning: , .. •

Allegro con brio

,: ,~-·-f f l~yt- itJ -i' t; ftl f rf

1 1f 14z
 23

I. 4/4, Allegro, 210m., G major, rondo. II. 3/4,

Adagio, 127m., A minor, binary. III. 2/4, Allegro

appassionato, 344m., G minor, rondo. (Coda providing

return to the major.)

The writing is very similar to the first concerto.

As with the second concerto, there is not a formal cadenza,

but there are several quasi-cadenza passages. This concerto

is unrewarding in proportion to the technical difficulties

posed to the player.
"
QUATRIEME CONCERT

Neubert (no date). Very difficult.

Orchestration unavailable. Piano accompaniment

available.

Tuning:

Lento maestoso
:2:__•_..,..__
...
-
j! '57~
I. 4/4- 3/4, Andante maestoso- Vivace, 261m., E minor,

modified rondo. II. 4/4, Adagio- Andante, 96 m.,

A minor, ternary. III. 4/4 - 3/4, Andante - Vivace,

232 m., E minor, modified rondo.

This is similar to the other concertos of this corn-

poser. The structure is an overall ternary form, as a

large portion of the last movement is an exact recapitulation

 24

of the first movement. There are no formal cadenzas, but

several cadenza-like passages. As with the third concerto,

the end result is not proportional to the difficulties in-

volved. Musically, it is a rather pallid work.

Cimador, Giovanni Battista {1761-1805)

Italian opera composer (original name Cimadoro),

settled in London sometime after 1791. Franz Joseph Haydn

mentions him in his diary (1794) as "Mr. Cimador, a young

violin virtuoso and composer." (See Grove's Dictionary,

Vol. II, p. 298.)

CONCERTO IN D FOR DOUBLE BASS WITH THREE STRINGS

Unpublished manuscript in British Museum {MS Add.

17834). Moderately difficult.

Orchestration does not exist. Piano accompaniment

does not exist.

Tuning:
2

Allegro

,:~ c - $ 7 r dF& ll1 f Hfi[(Ff 1rFF!1t1r I[J r-4~

p17

I. 4/4, Allegro, 200m., G major, rondo. II. 3/4,

Larghetto, 78 m., G major, binary.

The MS in the British Museum does not indicate the

tuning for this work. It is equally unclear whether this

 25

is to be played at actual pitch or with the usual octave

transposition. If the former is the case, the grade of the
concerto is Difficult. If the latter is true, it is
Moderately difficult. The style is similar to the Capuzzi
concerto.

Conti, Sebastian (1925-1962)

American double bassist and composer. Born in
Lockport, New York. Received the Bachelor's degree from
Illinois Wesleyan University, and the Master's degree from
the Eastman School of Music of the University of Rochester,
New York.
CONCERTO FOR DOUBLE BASS AND ORCHESTRA
Unpublished MS in the Sibley Music Library, Rochester,
New York. Moderately difficult.
Orchestration available on interlibr~ loan (orches-
tral score only). Piano accompaniment does not exist.
Tuning:
•
•

I. 6/8, Allegro, 216m., D (Dorian mode), sonata form.

II. 4/4, Tranquillo, 104m.~ E minor (Phr,Tgian mode),
ternary. III. 5/4, Allegro energico, 180 m., C-sharp minor,
(Aeolian mode), rondo.
 26

The concerto is purposely limited to the middle range

of the instrument (EE to b'), with no use of the natural
harmonics or double stops. The first movement has a full
cadenza and the second movement has a quasi-cadenza which
connects the second and third movements. This concerto is
not particularly difficult technically, and has rather
limited musical interest. It is part one of a Master's
degree thesis (1951), and is dedicated to Oscar Zimmerman,
Professor of double bass at the Eastman School of Music,
University of Rochester.
Instrumentation 1-1 (E.h.)-2-1; 2-1-0-0; tym.; harp;
strgs.

Creutzfeld
No biographical information available.
DOUBLE BASS CONCERTO IN A
Not available for examination.

Dauthage, Max
No biographical information available.
CONCERTO IN B
Not available for examination.

Diedrich, Wilhelm (1891- )

German double bassist who was a member of the orchestra
in the State Theatre in Bremen. Besides writing for the
double bass, he composed some chamber music and some works
 27

for piano. ••
(See Merseburger, Kurzgefasstes Tonkunstler-

lexikon, p. 125.)
..
KONCERT (A MOLL) IN EINEM SATZ FUR KONTRABASS

Merseburger c. 1341 M., 1931. Moderately difficult.

Orchestration unavailable. Piano reduction available.

Tuning:
•

Langsam

One movement divided into three rather distinct sections:

First section; varying meters, Langsam - Allegro moderato,

127m., A minor and A major, modified rondo. Second section;

3/4 - 6/8, Sehr langsam, 91 m., E major, ternary. Third

section; recapitulation of the first section, 103 m.

Aside from one section of double stops, this is not a

technically difficult composition. It is well-written for

the double bass and is interesting music. Dedicated to

Franz Tischer-Zeitz of Cologne.

Dittersdorf, Karl D. von (1739-1799)

Viennese violinist and composer who received a title

of nobility in 1773. On his death bed, in Bohemia, he

dictated his autobiography to his son and died two days

after it was completed. A thoroughly popular composer of

 28

his time. {See Grove's Dictionary, Vol. II, p. 714.)

..
KONZERT IN Es-DUR FUR KONTRABASS UNO ORCHESTER
Schott 2449, ed. L. and F. Jaeger, 1927. Difficult.
Orchestration available for purchase. Piano reduction
available.
----9-.....------ 1
Tuning: b.

I. 4/4, Allegro, 138m., E-flat major, sonata form.

II. 4/4, Adagio, 34m., B-flat major, binary. III. 2/4,
Presto, 243m., E-flat major, sonata form.
This is a good work, well worth study and performance.
Original MS in Grossherzogliche Regierungsbibliothek,
Schwerin, Germany.
Instrumentation 2-2-0-0; 2-0-0-0; strgs •
..
KONZERT E-DUR FUR CONTRABASS UNO ORCHESTER
Schott 2473, ed. F. Tischer-Zeitz, 1938. Difficult.
Orchestration available for purchase. Piano reduction
available.
____._________ 2
Tun i ng: -?+--:_ __:: ;______

1
See Chapter I, pp. S-6.
2 Ibid.
 29

I. 4/4, Allegro moderato, 118m., E major, sonata form.

II. 4/8, Adagio, 62 m., A major, theme and variations.

III. 2/4, Allegro, 228m., E major, sonata form.

This is a good work, possibly superior to the first

concerto. Well worth study and performance. Original MS

in Grossherzogliche Regierungsbibliothek, Schwerin, Germany.

Instrumentation 2-2-0-0; 2-0-0-0; strg.

Dragonetti, Domenico (1763-1846)

Italian double bassist born in Venice. Self-taught,

except for a few lessons from Berini, whom he succeeded

at st. Mark's in 1782. Went to London in 1794 where he

played at the Antien Concerts and in the Philharmonic for

over fifty years. As late as 1845, his virtuosity still

unimpaired, he led the double basses in the C minor Sym-

phony at the unveiling of the Beethoven statue in Bonn.

(See Elgar, More About the Double Bass, pp. 57-71.)
CONCERTO OP. 1
Schneider (Ozalid), ed. Rudolph Malaric. Moderately
difficult.

MS British Museum Add. 17832.

Orchestration available. Piano reduction unavailable.

Tuning:
•
 30
Andante

I. 2/4, Andante, 72 m., G major, rondo. II. 3/8, Presto,

238m., G major, rondo.

This piece is sometimes referred to as a "student con-

certo". It might well be considered a divertimento.

Instrumentation vln. I, vln. II, vla.

CONCERTO OP. 2

Unpublished MS in British Museum Add. 17833. Moderately

difficult.

Orchestration in MS. Piano accompaniment unavailable.

Tuning:

•
Allegro

:tc r ttU lf1rti 1 f#fift rr _1

I. 4/4, Allegro, 235m., C major, sonata form. II. 3/4,

Andante, 43 m., G major, binary. III. 3/8, Presto, 98 m.,
C major, rondo.

Eighteenth century style. Not quite so difficult as

some other Dragonetti pieces.

Instrumentation 0-2-0-0; 2-0-0-0; vln. I and II,

vla. I and II, bass.

 31

A FAMOUS CONCERTO
~

Doblinger (Ozalid), arr. R. Malaric. Moderately

diffieult.

MS British Museum Add. 17726.

Orchestration available in MS. Piano accompaniment
available.
·Tuning:
•

I. C, Maestoso un poco adagio (f=l26), 110m., F-sharp

minor, rondo. II. 2/4, Allegretto, 201 m., A major,
rondo.
This piece is found in several of the Dragonetti MSS

in the British Museum and is usually called Solo ~ ~ Minor.

In MS Add. 17726, these two movements appear in a series of
multi-movement divertimentos. In this edition it is scored
for solo tuning, resulting in F-sharp minor. A very
,effective work.
Instrumentation 1-2-0-1; 2-0-0-0; strgs.
MY FAVORITE CONCERTO
Doblinger {Ozalid), arr. R. Malaric. Difficult.
Orchestration available. Piano reduction available.
Tuning: •
• ::t•
 32

Allegro moderato ~

2\c -z rff lf)tfjf z ffi 1f'ttf 1f¥

~

I. c, Allegro moderato, 223m., E minor, rondo. II. 4/8,

Andante con moto, 69 m., A major, theme and variations.

III. 6/8, Allegretto, 184m., E minor, rondo.

This is a work demanding much technical display in

the same eighteenth century style of the other Dragonetti

works.

Instrumentation unknown.

GRANDE CONCERTO
,
Doblinger (Ozalid), arr. R. Malaric. Difficult.
MS British Museum Add. 17822.

Orchestration unavailable. Piano accompaniment avail-

able.

Tuning: -?+-:_ __..:;_____

Allegro con brio

I. 4/4, Allegro con brio, 192 m., D major, sonata form.

II. 3/8, Andante, 72 m., B minor, ternary. III. 2/4,

Allegro con moto, D major, rondo.

Very similar to other Dragonetti works. Rather ex-
 33

tensive use of double stops.

ORIGINAL CONCERTO NO. 2 IN A

Doblinger (Ozalid), ed. R. Malaric, 1966. Difficult.
MS British Museum Add. 17822.

Orchestration unavailable. Piano accompaniment avail-

able.

Tuning:
•

Allegro

I. 4/4, Allegro, 291m., A major, sonata form. II. 4/4,

Andante, 98 m., E major, ternary. III. 2/4, Allegretto,

176m., A major, variations.

This is a good piece but it is more difficult,

technically, than it appears at first glance. There is a

cadenza in the first movement.

CONZERT IN A, NO. 3

Doblinger (Ozalid), arr. Othmar Klose. Difficult.

Orchestration available. Piano reduction available.

Tuning:
•
-------
 34

I. C, Allegro moderato, 289m., A major, sonata form.

II. c, Andante, 80 m., A major, ternary. III. 4/8,

Allegretto, 226m., A major, rondo.

This concerto is similar to the second concerto but

has, perhaps, a little more musical depth. The solo part

commences with a cadenza and there is a second more ex-

tended cadenza later in the first movement.

Instrumentation 0-2-0-1; 2-0-0-0; strg.

CONCERTO NO. 4 IN E

Doblinger (Ozalid) MR 16367, arr. Othmar Klose, 1967.

Difficult.

MS British Museum Add. 17829.

Orchestration available. Piano accompaniment available.

Tuning:
•
•

Allegro moderato

I. 4/4, Allegro moderato, 149m., E major, sonata form.

II. 3/4, Adagio, 112m., A major, variations. III. 2/4,

Allegretto, 162 m., E major, rondo.

This concerto is more difficult than it would appear

at first glance. The second movement is particularly good.

Instrumentation unknown.
 35

\
CONCERTO POUR CONTREBASSE A CORDES ET PIANO
Leduc, ed. E. Nanny, 1925; International, ed. s.
Sankey, 1963; Doblinger (Ozalid), arr. R. Malaric;
Hofmeister, ed. Siebach. Moderately difficult.
Orchestration available from Leduc on rental (through
u.s. agent, M. Baron Co.), or for purchase from
Doblinger (through u.s. agent, AMP). Piano accom-
paniment available for all editions.
Tuning:
?'· •
Allegro moderato

?"·*c f) lfJclr!rfr i!JtrfcfE f rf rfr hr I AjZ

I. 4/4, Allegro moderato, 122m., A major, sonata form.
II. 4/4, Andante, 71 m., E major, binary. III. 6/8,
Allegro giusto, 175m., A major, rondo.
This work is not by Dragonetti, but it is an attempt
by someone, possibly the original editor, M. Nanny, to
write in the style of Dragonetti. Musically it is limited,
but technically it lies well on the instrument and is re-
warding to the performer.
Instrumentation unknown.

Findeisen, Theodore Albin (1881-1936)

German double bassist who played in Leipzig and taught
 36

at the Leipzig Conservatory. Wrote extensively for the

double bass including studies, pieces and concertos. Wrote

also for the keyboard, choir, and for solo voices. (See
Merseburger, Kurzgefasstes Tonkunstlerlexikon, p. 161.)

KONZERT OP. 15

Schmidt 4319, 1922. Very difficult.

Orchestration available. Piano accompaniment available.

Tuning:

I. 4/4, Allegro marcato, 313m., B minor, sonata form.

II. 3/4, Andante, 117m., F-sharp minor, binary. III. 2/4,

Allegro, 244m., D major, sonata rondo form.

This is a long and strenuous work. Conceived in a very

chromatic harmonic idiom, it tends to ramble, particularly

in the first movement. The first movement cadenza is ex-
tensive (60 m.), and difficult. Dedicated to Franz Warnecke,
famous double bassist of Hamburg.
Instrumentation unknown.
,.
II. KONZERT FUR KONTRABASS (IN EINEM SATZ) OP. 25

Schmidt 4391, 1926. Difficult.

Orchestration available. Piano accompaniment avail-

able.
 37

Tuning:
•

Allegro

?:c
+~
~r~iid d21~fJ-- a~a#Ufi~W
~

One movement which divides itself into three sections:

I. 4/4, Allegro, 222m., D major, ternary. II. 4/4,

Andante molto, 49 m., B minor, ternary. III. 4/4, Allegro

leggiero, G major and D major, 91 m., binary.

This work is very rhapsodic in style. The last section

is slightly reflective of the first, giving the piece an

overall A B A form. It is a piece of technical display but

not so difficult as the other concerto of this composer.

Dedicated to Kurt Barth.

Instrumentation unknown.

Fontaine, Fernand Marcel

See Chapter III.

Franke, A.
No biographical information available.
CONCERTO PICCOLO

Not available for examination.

Geier, Oscar (1889- )

German violinist born in Rosslehen. Educated in

 38

Sondershausen, studying with Petri and Spitzner. Played

in various orchestras. In 1915 he was solo viola at the
Dresden State Opera. Also wrote an opera and a clarinet
concertina. (See Merseburger, Kurzgefasstes Tonkuntler-
lexikon, p. 187.)
KONZERT FUR KONTRABASS UND ORCHESTER OP. 11
Hofmeister 11012, 1931, 1954. Moderately difficult.
Orchestration available. Piano accompaniment
available.
Tuning: , .•
• •

I. 4/4, Allegro moderato, 132 m., E minor, ternary and coda.

II. 4/4, Adagio, 79 m., B major, ternary. III. 4/4,

Allegro moderato, 132 m., E minor, ternary and coda.

The three movements together are a large ternary form,
the final movement being a recapitulation of the first.
The style of writing is rather impressionistic with use of
whole-tone scales and planing of sonorities. It is a com-
pact work and rewarding in relation to the effort expended.
Instrumentation unknown.

Geissel, Johann (1859- ? )

 39

Born in Bohemia. A student at the Prague Conservatory

1873-1879 under Joseph and Vendelen Sladek. From 1889,

Professor of double bass at the State Conservatory in

Strassburg. (See Warnecke, ~ Infinitum Der Kontrabass,

p. 92.)
It

CONCERT FUR CONTRABASS OP. 32

Schott 27453. Moderately difficult.

Orchestration unavailable. Piano accompaniment

available.

Tuning:
,
..
•

I. 4/4, Maestoso- Allegretto grazioso, 188m., A ~ajar,

introduction and rondo. II. 3/4, Adagio, 83 m., D major,

ternary. III. 4/4, Allegro molto, 182m., A minor, theme

and variations.
This concerto is in a bravura style, but not overly

difficult. The construction is compact and concise. It

is a gratifying piece to perform. The Adagio movement,

in C major for orchestra tuning, is found in Solos !2£ ~

Double Bass, Schirmer, ed. O.G. Zimmerman.

Girotto, v.
 40

No biographical information available.

FAUST CONCERTO

Not available for examination.

Grant, Parks (1910- )

Born in Cleveland, Ohio. B.M. Capitol University,

Columbus, Ohio, 1932. M.A. Ohio State University. Studied

composition under Davidson in Columbus and Elwell at the

Eastman School of Music, University of Rochester. Now

Professor of Music, University of Mississippi. (See Reis,

Composers in America, p. 149.)

INTEGRATED CONCERTO, 1946

Whitney-Blake. Difficult.

Tuning:
,.. .
Orchestration available.

: .
•
Piano reduction available.

Allegretto animato

~xi f Fc#1 fft[fl@dJ~IJ1tr~v

"""'"'" ~OY"\ \to~~ +-o

One movement which is cast in three parts: I. 7/8,

Allegro animato (~=184-192), 182m., A minor, ternary.

II. 5/8, Lento ()=56), 81 m., F major, ternary. III.

7/8, Tempo II ()=144), 70 m., A major- A minor, binary.

These three parts constitute one large quite sym-

metrical type of arch form. The texture is rather contra-

 41

puntal with passacaglia-like characteristics in repetition

of a rather regular melodic idea with variations surrounding

it. The solo part is edited as to the function of the solo

line; S - solo, E - ensemble, 0 - obligato, B - background.

Thus all parts are "integrated." This concerto is well-

written for the instrument.

Instrumentation 2 (picc.)-2-2 (b. cl.)-2; 3-2-1-1;

tym., perc.; strg.

Hassler, Louis

No biographical information available.

CONCERTO INC MINOR, OP. 14 FOR TUBA, DOUBLE BASS, OR BASSOON

Oertel. Easy.

Orchestration available on interlibrary loan from

Fleisher Collection of the Free Library of Philadelphia.

Piano accompaniment unknown.

Tuning:

I. 4/4, Allegro moderato, 179m., C minor, sonata form.

II. 6/8, Andante, 84 m., A-flat major, variations.

III. 6/8, Allegretto, 91 m., C major, rondo.

Musically, this concerto is a purely didactic work of

 42
limited aesthetic value. It utilizes only the middle and
lower range of the instrument. The demands on the technique
are minimal.
Instrumentation 2-2-2-2; 2-4-3-0; tym.; strgs.

Hause, Wenzel (1764-1847)

Bohemian double bassist who was the first Professor o!
double bass at the Prague Conservatory, 1811-1845. (See
Warnecke, Ad Infinitum~ Kontrabass, p. 80.)
CONCERTO IN D MAJOR
Not available for examination.

H~dn, Franz Joseph (1732-1809)

Renowned Austrian composer. Born in Rohrau-on-the
Leitha in southern Austria, the son of Matthias Haydn.
Studied at St. Stephen's in Vienna from about 1740-1748.
Continued private study in Vienna and worked as a free
lance musician until 1758 when he was appointed Music
Director at the court of Count Morzin, a Bohemian noble-
man. In 1761, Haydn entered the service of Prince
Esterhazy and con~inued in the employ of the Esterhazy
family until his death. In 1791, and again in 1794, he
made extended visits to England and enjoyed great success
there. In 1801 his health began to fail, and he lived in
retirement for the remainder o! his life. Compositions
include symphonies, concertos, chamber music, operas, and
church music. (See Baker's Biographical Dictionary, pp.
 43
6?5-679.)
..
KONZERT FUR KONTRABASS
Unpublished MS, now lost. Date of composition unknown.
Tuning:
?

This work is found in early listings of H~dn's works,

including the Elssler catalogue of 1805, and the Fuchs cata-
logue of 1841. Since that time the work has disappeared.
In the Elssler listing it is referred to as "per il violone. ·~
In the Fuchs catalogue it is "fi.ir Kontrabass." The incipit
is found in the Hoboken Verzeichnia, Vol. I, p. 533. (See
Chapter I, p. 5.)

Henze, Hans Werner

See Chapter III.

Hertl, Frantisek (1906- )

Czech double·bassist. Graduated from the Prague Con-
servatory in double bass and composition, studying the lat~er

with Jaroslav Ridky. As a young man, principal double bass

at the National Theatre in Luibljana and teacher of double
bass in the Musical Institute there. Later, principal
 44
double bass of the Czech Philharmonic. For some years,

principal double bass of Czech Radio Orchestra and Czech

Nonet. Since 1950, Professor of double bass and chamber

music Prague Conservatory and Academy of Musical Arts.

Has written much instrumental music, including a sonata

for double bass. (See Gardavsky, Contemporary Czech Com-

posers, p. 155.)

CONCERTO PER CONTRABASSO ED ORCHESTRA, 1957

Panton, P 067, 1960. Difficult.

Orchestration available on rental. Piano accompani-

ment available.

Tuning:
•

I. 4/4, Allegro risoluto, 185 m., A major, sonata form.

II. 3/4, Andante, 132 m., A major, ternary. III. 2/4,

Allegro, 293 rn., A major, rondo.

A well-constructed piece in a tonal medium. The piece
lies well within the conventional technique of the double

bass, therefore there are no serious technical problems.

Dedicated to Mr. Zdenka. World premiere April, 1958,

Prague, Frantisek Posta, Czech Broadcast Symphony, Alois

 45

Klima.

Instrumentation 2 (picc.)-0-2 (b. cl.)-2; 2-2-0-0;

tym.; hp.; strg.

Hindle, Johann J. (1792-1862)

Viennese double bass virtuoso. He was a pupil of

Dragonetti and sometimes is called the German Dragonetti.

(See Merseburger, Kurzqefasstes Tonkunstlerlexikon, p. 254,

and Carse, The Orchestro from B@tithovtn i2 a~rl_iE>z, p. 254

and p. 293.)

CONCERTO IN B FLAT

Not available for examination.

Hoffmeister, Franz Anton (1754-1812)

German composer and publisher. Went to Vienna when

young to study law. About 1775 he turned to music and

began composing chamber music and opera. In or about 1783,

founded the publishing firm, famous for its connections

with Mozart and Beethoven, which became the house of

C.F. Peters. Wrote an enormous amount of chamber music.
One of the composers attached to Schikaneder's Theatre ~

der Wieden. (See Grove's Dictionary, Vol. IV, p. 315.)

CONCERTO NO. 1 IN E FLAT
MS in Grossherzogliche Regierungsbibliothek, Schwerin,

Germany. Scheduled for publication May 1969, ed. by

R. Malaric.

Not available for examination.

 46
KONZERT NO. 2 IN
..
D FUR CONTRABASS UND ORCHESTER

Ars Viva Verlag 999, Schott, Doblinger. Difficult.

Orchestration unavailable. Piano accompaniment avail-

,
able.

Tuning: ..

Moderato

I. 4/4, Moderato, 193m., D major, sonata form. II. 6/8,

Andante, 71 m., A major, binary. III. 3/4, Moderato,

167m., D major, rondo.

The entire work is well within the conventional

technique. The double stops are plentiful, but not

difficult. Musically, the work.is typical of the period,

but not too interesting.

·J Holzhauer, Ignace (1711-1783)

Austrian composer. After study in Italy and some
success in opera composition, he went to Mannheim in 1753
and was in charge of the opera there for twenty~five years.
As an instrumental composer he was one of the more inde-

pendent representatives of the Mannheim School under the

influence of Johann Stamitz. (See Grove's Dictionary,

Vol. IV, p. 339.)

 47

CONCERTO

Not available for examination.

Hrabe, Joseph (1816-1870)

Bohemian double bassist. Studied at the Prague Con-

servatory with Wenzel Hause. Succeeded Hause in 1845 and
served as Professor at the Prague Conservatory until 1870.

(See Warnecke, Ad Infinitum~ Kontrabass, p. 80.)

CONCERT

Schmidt 2538 2086 (Simandl Adv. Sch. Vol. III).

Difficult.

Orchestration unavailable. Piano accompaniment avail-

able.

Tuning:
•

I. 4/4, Maestoso, 244m., A major, sonata form.

Musically uninteresting. Much like the concerto of
J.J. Abert.

Huber, Joseph (1837-1886)

German violinist and composer. Studied at the Stein

Conservatory in Berlin. Also studied in Weimar. From 1865

 48

a member of the Court Orchestra at Stuttgart. (See

Thompson, ~International Cyclopedia, p. 1014.)

CONCERTO FOR DOUBLE BASS

Not available for examination.

Klose, Othmar (1889-

Austrian composer. Studied at the Vienna Conserva-

tory; piano and composition (Leschetizky). For several ·

yearB in New York at Radio Station WEAF and Irving Place

Theatre. Composer of opera, operetta, and music for modern
dance. Composer and editor of much double bass music.
(See Klose in Correspondence Bibliography.)
..
CONCERT IN A FUR CONTRABASS U. ORCHESTER OP. 18, 1950

Doblinger D 8434, ed. R. Malaric. Difficult.

Orchestration available for purchase. Piano accom-
paniment available.
Tuning:
•

Moderato maestoso

f171

r
I. 4/4, Moderato maestoso, 239m., A major, modified sonata

form. II. 3/4, Andante cantabile, 106m., D major, binary.

III. 4/4, Allegro con brio, 290m., A major, modified

rondo.
 49

Although a contemporary work, the harmonic and

melodic styles of the past prevail. The entire work is

quite lyrical. The harmonic structure is somewhat chro-

matic. The final movement recalls thematic material from

the first movement within the rondo form. Rewarding in

proportion to the demands on the player.

Instrumentation 1-1-2-1; 2-1-1-0; perc.; strg.

Kohaut, Karl (1736-1800)

Austrian of high court position with whom music was

a sideline. Whether he was a brother of Joseph Kohaut
cannot be determined, but like Joseph he was also a

lutenist. (See Eitner, Quellen Lexikon, Vol. V, p. 409.)

CONCERT
..
FUR CONTRABASS UND ORCHESTER (PIANOFORTE)

Doblinger (Ozalid) MR 17765, arr. R. Malaric. Difficult.

Orchestration available from arranger. Piano accom-

paniment available from publisher.
Tuning:
•

:::Moderate)

I. 4/4, (Moderato), 73 m., A major, monothematic sonata

form. II. 2/4, Adagio, 52 m., A minor, ternary. III. 3/8,

(Allegro), 266m., A major, rondo.
 50
This edition is taken from a manuscript which contains
all of the solo part, but only fragments of the orchestral
score. In this edition the work lies quite well on the
I

instrument. Style is typical of the eighteenth century

common practice. The MS is in the Bibliothek der
Gesellschaft der Musicfreunde des Osterreichischen Staats
in Wien.
- -
Instrumentation unknown.

Kohl, w.
No biographical information available.
CONCERTO FOR DOUBLE BASS
Not available for examination.

Kolb, J.
Biographical information uncertain. Perhaps
Johann Baptiste, a pupil of F.J. Haydn. (See Eitner,
Quellen-Lexikon, Vol. V, Pe 410.)
CONCERTO IN E
Not available for examination.

Koussevitzky, Serge Alexandrovitch

See Chapter III.

Kuchyhka, Voyta (1871-1942)

A member of a family of double bass virtuosos, this
man was principal double bass in the National Theatre in
Prague for thirty-four years. He graduated from the Prague
 51

Conservatory in 1891. His other compositions include

pieces for orchestra, double bass, piano, and many songs.

(See Merseburger, Kurzgefasstes Tonkunstlerlexikon, p. 324.)

CONCERTO NO. 1 FOR DOUBLE BASS

Not available for examination.

Lancen, Serge (1915- )

French composer, born in Paris. Original name,

Landowski. Educated at the National Conservatory in Paris.

Prix de Rome, 1950. Presently residing in Paris. Com-

positions include five operas, one symphony, symphonic poem,

two ballets, choral works, chamber music, film scores,

concertos for piano, bassoon, and violoncello. (See Simmons

and Townsend, Who's~ in Music, p. 246.)

CONCERTO POUR CONT~BASS ET CORDES

Editions Francaises, 1962. Difficult.
Orchestration available for purchase. Piano reduction

available.

Tuning:
•

I. 3/4- 2/4, Moderato <l=60) -Allegro <)=116), 187m.,

C minor, ternary. II. 4/4, Andante CJ=48) - Poco piu

 S2

vivo <)=200}, 109m., C minor, variation form. 1vca.

The range of this piece is quite wide. 1! I $ t

The higher portion of this gamut, however, is utilized the

most. It is a grateful piece, lying quite well on the in-

strument. It is perhaps unfortunate that it was not written

for solo tuning.

Instrumentation violins, violas, and cellos.

Laska, Gustave (1847-1928)

Bohemian double bassist. Studied at the Prague Con-

servatory with Joseph Hrabe, 1861-1867. Concertized widely

on the double bass including a concert tour of the United

States. Principal double bass of the Chapel at Kassel and

later at the Chapel of the Prince of Sondershausen, where he

also was conductor. In 1878 he was named principal double

bass and conductor in the Court Theatre at Schwerin, but

continued to concertize as well. (See Warnecke, ~

Infinitum~ Kontrabass, p. 43.)

CONCERT FUR DEN CONTRABASS MIT ORCHESTER BEGLEITUNG

C.F. Kahnt 3411. Moderately difficult.
Orchestration unavailable. Piano reduction available
from this writer.

Tuning:
- .
-)-J.t_:_ _;::•::...-----
 53

I. 4/4, Allegro, 220m., D major, binary. II. 3/4,

Adagio, 40 m., A minor, ternary. III. 4/4, Allegro,

268m., D major, binary.

The three movements constitute a large ternary form.

The last movement is a literal recapitulation of the first

movement except for differing key relationship and a

cadenza and coda. Musically, the piece is not too inter-

est~ng for the soloist. However, the tutti has some poly-

rhythms which are rather difficult when reduced to piano

score.

Lauber, Joseph (1~64-1952)

Swiss composer who studied in Zurich with Heger, in

Munich with Rheinberger, and in Paris with Massenet and

Diemer. Returning to Switzerland, he taught at the Zurich

Conservatory and conducted a theatre orchestra in Geneva.

Among his compositions are an opera, an oratorio, five

symphonies, and five concertos. (See Baker's Biographical

Dictionary, p. 917.)
CONCERT FOR DOUBLE BASS AND ORCHESTRA

Not available for examination.

Lorenzitti, Joseph Antoine (1740-1789)

Dutch violinist and composer. Pupil of Locatelli and

choirmaster at the Cathedral in Nancy. Brother and teacher

of Bernardo Lorenzitti who was violinist in the Paris Opera.

Joseph Antoine's compositions include symphonies, an opera,

 54
chamber music, and solo works for violin. (See Blume, Musik
in Geshichte und Gegenwart, Vol. VIII, p. 1203, and Wier,
~MacMillan Encyclopedia £f Music An£ Musicians, p. 1077.)
CONCERTO FOR DOUBLE BASS
Not available for examination.

Lotter, Adolf (circa 1870- 7 )

Student at the Prague Conservatory, 1885-1891, and
editor of Hrabe's Method. (See Warnecke, ~Infinitum~

Kontrabass, p. 88.)
CONCERTO IN A MINOR
Not available for examination.
I

~ Madenski, Eduard (1877- 7 )

Pupil of Simandl at the Vienna Conservatory and later
a member of the Vienna Opera Orchestra. (See Warnecke, ~

Infinitum~ Kontrabass, pp. 49-50.)

CONCERTO FOR DOUBLE 'BASS
Not available for examination.
MS in possession of Hans Fryba, Geneva, Switzerland.

Mann, Christoph
Die Musikfreunde in Wien lists the following com-
positions of Mann: Concerto for contrabass with ace. of
2 violins, viola, and bass; two cello concertos, six string
quartets, eight divertimentos for violin and bass, and for
2 violins and bass. (See Eitner, Quellen-Lexikon, Vol. VI,
P• 301.)
CONCERTO FOR DOUBLE BASS
Not available for examination.
 55

Marangoni, Giuseppi M. (1866-circa 1940)

Studied double bass, counterpoint, and composition in

Bologna. Played in Greece and toured Europe, North and

South America, and the Orient with Mascagni, Versella, and

Leoncavallo. From 1900, Professor of double bass at the

Royal Institute in Florence. (See Warnecke, Ad Infinitum

Der Kontrabass, pp. 95-97.)

CONCERTO IN LA MAGGIORE, OP. 47

Bongiovanni, 1938. Difficult.

Orchestration unavailable. Piano accompaniment avail-

able.

Tuning:

Allegro con brio

I. 4/4, Allegro con brio, 136m., A major, rondo.

II. 3/4, Andante affettuoso, 104 rn., A major, ternary.

III. 3/4 - 6/8, Allegro maestoso - Tempi di saltarello,

A major, ternary.
A good work and well-written for the double bass.

Jedicated to Forgione.

Maschek, Vincent (1755-1831) and (1794-1873)

There were two musicians by the name of Vincent

 56

Maschek. The older one was a pianist, and the younger was

the son of Kasper Maschek. All were members of a famous

Bohemian family. (See Blume, ~ Musik ~ Geschichte Yn&

Gegenwart, Vol. VIII, p. 1960.).

CONCERTO IN D

Not available for examination.

Mengoli, Annibale (1851-1895)

Italian double bassist. Studied at Liceo Musicale in

Bologna. Later Professor of Double Bass both at the Liceo

Musicale Verdi in Turin and the Liceo Musicale Rossini in

Pesaro. One of the teachers of Bille and father of Umberto

Mengoli. The Conservatory in Pesaro lists six volumes of

concertos by Mengoli, but the author has been unable to

examine these volumes. (See Warnecke, ~ Infinitum ~

Kontrabass, pp. 97-98.)

CONCERTO NO. 1

Not available for examination.

CONCERTO NO. 2

Not available for examination.

Miari, Giangiacome (1927- )

Italian co~poser, born in Venice. Diploma in com-

position from the Parma Conservatory and in choral music

from the Conservatory in Venice. Currently teaching at the

Conservatory in Venice. Other compositions include orches-

tral works, choral works, and chamber music. (See Zanibon

 57

in Correspondence Bibliography.)
CONCERTO PER CONTRABASSO E ORCHESTRA D' ARCH!
Zanibon 4499, 1963. Moderately difficult.
Orchestration available for purchase. Piano reduction

unknown.
Tuning:

Allegro

L.- } P1r v~r·v r·D ff iflH

1 rts 1f·~
I. 6/8, Allegro, 207m., F-sharp tonality, sonata form.
II. 3/4, ¢, 3/4, Adagio, Vivace, Adagio, 130m., A tonal-

ity, ternary.
Except for one passage of double stops near the end of
the Vivace, the greatest technical problems are in the first
movement. An interesting piece both technically and musi-
cally. Dedicated to Antonio Matteis, formerly of the
Vienna Solisten. First performance, Vienna, March 1962.
Instrumentation vln. I, vln. II, vla., vel., d.b.

Michna, Annibale
No biographical information available.
CONCERTO FOR DOUBLE BASS
Not available for examination.
 58

Miglietta, Giovanni
No biographical information available.
PICCOLO CONCERTO
A. Capurro (out of print). Moderately difficult.
Orchestration unavailable. Piano accompaniment unavail-
able.
Tuning:
•

Allegro

I. ¢, Allegro, 130 m., A major.

Not available for examination, but reportedly Verdian
in style.

Montag, Lazlo
No biographical information available.
MICRO CONCERTO
Not available for examination.

Morbiducci, Angelo
No biographical information available.
CONCERTO IN RE MINORE, 1936
De Santis 488, 1937. Moderately difficult.
Orchestration unavailable. Piano accompaniment avail-
able.
 61
,
Majestueux et bien rythme

I. 4/4, Majestueux et bien rythme, 175m., A minor, ternar,r.

II. 6/8, Lent tres soutenu, 53 m., E-flat major, ternary.
III. 4/4, Vif et agite, 149m., A major, modified sonata
form.
The style is derivative of the late nineteenth century
French school, including cyclic elements. The entire piece
lies quite well on the instrument. It would probably be
more effective if ·it were written for solo tuning. The
original edition is dedicated to Sylvain Dupuis. There
exists an unpublished edition of this by Hermann Reinshagen,
cha0ged and made much more difficult.
MS orchestral score and parts exist in the private
collection or Oscar Zimmerman, Rochester, New York.
Instrumentation unknown.

Nanny, Eduaurd (18?2-1942)

Famous French double bassist. Studied at the Paris
Conservatory with Verrimst. Widely acclaimed as a virtu-
oso pl~er, he toured internationally as a soloist.
Succeeded to the Professorship at the Paris Conservatory in
. 1920 and remained there until 1940. Published much double
bass music including a method, etudes, original solos, and
 62

many transcriptions. His publications include a concerto

attributed to Dragonetti, see Chapter I, pp. 7-8. (See

Alphonse Leduc, Musigue pour Contrebasse, Paris, no date.)

CONCERTO POUR CONTREBASSE ET PIANO
Leduc 19736, 1938. Moderately difficult.
Orchestration available on rental from publisher
(through u.s. agent, M. Baron Co.). Piano accompani-
ment available.
Tuning:

•
Allegro moderato

I. 4/4, Allegro moderato, 114m., E minor, binary. II.

4/4, Lento, 21 m., C major, monothematic transition.
III. 2/4, Allegro moderato, E minor, ternary.
The work has a lot of thematic and rhythmic interest.
The second movement, really a slow transition, concludes
with a cadenza which leads directly into the spirited
Final, which also contains a short cadenza. Thematic ele-
ments of the first movement return in the coda of the final
movement. The piece is well-constructed and technically
not too difficult. The dedication is to Nestor Higuet,
Professor at the Conservatory in Brussels.
 63

Instrumentation unknown.

Niblock, James
See Chapter III.

Piehl, Wilhelm (1741-1804)

Bohemian violinist and composer. Studied in Prague

and later (1763-1769) associated with Dittersdorf at the

Court of the Bishop of Pressburg. In 1775 appointed chamber

conductor to Archduke Ferdinand in Milan, and with him in

Vienna in 1796. (See Baker's Biographical Dictionary,

P• 1246.)
..
STUDIENKONZERT FUR KONTRABASS UNO ORCHESTER (CONZERT NO. 1)

Hofmeister 7187, ed. Heinz Herrmann, 1957; Doblinger,

arr. R. Malaric. Moderately difficult.

Orchestration available. Piano reduction available.

Tuning:

2: c F t~t;t
f
=1 t ttBtr $1¥
I. 4/4, Allegro moderato (Malaric, Moderato), 97 m.,

D major, sonata form. II. 3/4, Andante molto (Malaric,

Adagio), 54 m., A major, ternary. III. 2/4, Presto

(Malaric, Allegro), 239m., D major, sonata form.

 64

This is the second of the two concertos of Piehl as

they are listed in the Kade catalogue. The original manu-

script is for the violone. Both of the editions are

possibly shortened. The Malaric arrangement is an octave

higher at times and includes a cadenza, all of which renders

it more difficult than the Herrmann edition. MS in

Grossherzogliche Regierungsbibliothek, Schwerin, Germany.

Instrumentation 0-2-0-0; 2-0-0-0; strg.

CONZERT NO. 2 FUR CONTRABASS UNO ORCHESTER

Doblinger, ed. R. Malaric. Difficult.

Orchestration available. Piano reduction available.

Tuning:
•
•

Moderato
l-1.}].11 ~ ....

I. c, Moderato, 216m., E major, sonata form. II. 2/4,

Adagio, 126m., A major, binary. III. 2/4, Allegretto,
286 m., E major, rondo.
This is the first of the two concertos of Piehl as
they are listed in the Kade catalogue. The original manu-
script is for violone and is in D major. This edition is

permeated with a great many double stops, especially thirds.

MS in Grossherzogliche Regierungsbibliothek, Schwerin,

 65
Germany.
Instrumentation 0-2-0-0; 2-0-0-0; strgs.

Pockh, Eduard
No biographical information available.
CONCERTO BREVIS
Schneider (Ozalid) MR 15768, arr. R. Malaric'.
Difficult.
Orchestration unavailable. Piano accompaniment avail-
able.
Tuning:
•
• ,.
Allegretto ~

,:.{.lJ:P.-dfl f Ft tu~d f 1ff11 ~z

$ $

I. 3/4- 2/4, Allegretto- Andante sostenuto, 112m.,

A major, Introduction and rondo. II. 3/8, Scherzo, 125m.,
A major, ternary. III. ~' Allegro, 122m., A major,
modified sonata form.
This concerto is slightly chromatic in harmonic style,
and rhythmically straight-forward. Not overly taxing in
technical difficulties, nor in length. First performed in
Vienna, March 3, 1926.

Poradovski, Stefan Boleslaw

 66

See Chapter III.

Proto, Frank (1941- )

American double bassist and composer. Born in New York

and educated at the Manhattan School of Music. Currently a

member of the faculty of the Cincinnati College-Conservatory

of Music and a member of the Cincinnati Symphony Orchestra.

His compositions include a Sonata f2£ Double Bass ~ Piano,

original solos for double bass, and double bass ensemble

music. (See Proto in Correspondence Bibliography.)

CONCERTO FOR DOUBLE BASS AND ORCHESTRA (1968)

Proto (Ozalid). Very difficult.

Orchestration available on rental. No piano accompani-

ment.

Tuning: ,.. . .
Slowly

, . ,s 1-a

I. Varying meters, Slowly, 48 m., no key, free form.

II. 4/4 (12/8}, Bright, 210m., no key, modified sonata
form. III. J =50, Very slow, 71 m., no key, variations.

IV. J =69, Moderately fast, 206 m., no key, free form.

The composer describes the style of writing as an

~ttempt to make the instrument sound as rich and sonorous

 67

as possible without resorting to romantic techniques.

Almost all the resources of the instrument are usPd. Or-

chestra and solo parts are difficult, but very rewarding.

Commissioned by Barry Green. First performance February 16,

1969, Cincinnati, Ohio, Barry Green, Philharmonic of the

University of Cincinnati, Erich Kunze!.

MS with the composer.

Instrumentation 2 and picc.-2 and E.h.-2 and b. cl.-2

and c.b.; 4-3-3-1; pa., hp., tym., perc.; strgs.

Reinhardt, Franz

No biographical information available.

CONCERTO IN F-SHARP MINOR

Not available for examination.

Rohrig, Emil

See Chapter III.

Russell, Armand

See Chapter III.

Safranski, Eddie (1918- )

Born in Pittsburgh, Pa. Studied the violin and later
the double bass. Professional debut as a jazz bassist with

Marty Gregor, 1937. Came into prominence with Hal Mcin'tyre

Orchestra, 1941-1945. Bassist with Stan Kenton, 1945-1948,

and with Charlie Barnet, 1948-1949. Since 1950, leader of

his own group on NBC radio and television in New York.

 68

(See Feather, ~Encyclopedia gt Jazz, p. 408.)

CONCERTO FOR BASS

Mutual Music 151-5, 1942. Easy.

Orchestration does not exist. Piano accompaniment

available.

Tuning:

Moderate bounce

I. 4/4, Moderate bounce, 74 m., G major, sections or

choruses.
This is not a concerto in the strict sense of the word,

but a short solo for double bass and piano in the jazz idiom.

It utilizes the lower range of the instrument, not exceeding

g in the sixth position, and all in the bass clef.

Schuller, Gunther (1925- )

American French horn player and composer. Student at
St. Thomas Choir School in New York and later at the Man-
hattan School of Music, New York. French horn player with

the Ballet Theatre. First French horn with the Cincinnati

Symphony, then became solo French horn with the Metropolitan

Opera, 1945-1959. Teacher at the Manhattan school from

1950. Musical director of the first International Jazz

 69

Festival, Washington D.C., 1962. Faculty member at Tanqle-

wood, 1965. Since 1967, President of the New England Con-

servatory. Other compositions include Symphony f2£ Brass

and Percussion, Symphony 12£ Jazz Quintet and Orchestra,

concertos for horn and for cello, ballet, and chamber music.

(SeP Who's~ in America, Vol. 35, p. 941.)

CONCERTO FOR DOUBLEBASS AND CHAMBER ORCHESTRA (1968)

Associated. Very difficult.

Orchestration (Ozalid) available for rental. Piano

reduction not available.
Tuning:
•
•

Prelude, 4/4 CJ=92), 16m., tone row, free form. I. 4/4,

Tempo commodo CJ=SS-92), 34m., tone row, free form.
II. 2/2 (j=116), 120m., tone row, free form. III. 4/4,
Adagio, 31 m., tone row, free form. IV. No meter, Molto
tranquillo statico, aleatory (five pages of orchestral
score at 25 seconds per page). v. Varying meters,
Andante sostenuto, 63 m., tone row, free form. VI. 2/2

1
By permission of Associated Music Publishers Inc., New
York.
 70

(J=ll6), 84 m., tone row, free form. VII. 4/4, Tempo

commode (J=72), 26m., tone row, free form.

Th~s is an extremely complex work, both technically

and musically. It should be attempted only by the most

gifted virtuoso player. Premiere performance, June 1968,

New York, Gary Karr, New York Philharmonic, Schuller con-

ducting.

Instrumentation pice., alt. fl., ob., E.h., E-flat cl.,

b. cl., bssn., c. bssn.; D trpt., B-flat trpt.,

ten. trb., b. trb.; clst.; vln. a4, vla. a4, vel. a4,

d.b. a4.

Schwartz, Peter

No biographical information available.

CONCERTO FOR DOUBLEBASS AND PIANO

Not available for examination.

Scontrino, Antonio (1850-1922)

Italian composer, teacher, and double bass virtuoso.

Studied in Palermo and later in Munich. After various

engagements as an orchestral player and as a teacher, he
settled in Florence (1892) and taught composition at the
Institute Musicale. His compositions include five operas,
two symphonies, and some incidental music. (See Baker's

Biographical Dictionary, p. 1485.)

..
CONCERT FUR DEM CONTRABASS MIT ORCHESTER

MS, arr. Franz Warnecke. Very difficult.

 71

Orchestration available in MS. Piano reduction avail-

able in MS.
Tuning:
•
•
•

Allegro assai moderato Vivo

I. 6/4, Allegro assai moderato (J=48), 430 m., (including

cadenza), C major, sonata form. II. f, (j=42), 175m.,

F major, modified sonata form. III. Allegro moderato

(J=52), 282m., C major, modified rondo form.

This is possibly one of the best of the double bass

concertos. It awaits an edition written a perfect fourth

lower for regular solo tuning and with some reduction in

length.

Instrumentation picc.-2-2 and E.h.-2 and b.cl.-2;

4-0-3-0; tym.; hp.; strgs.

MS available from Oscar Zimmerman, Rochester, N.Y.

Sifonia, Firmino (1917- )

Italian composer and pianist, born in Geneva. Studied

in Paris. Received a diploma from the Rome Conservatory

where he studied composition with Petrassi. (See Sartori,

Dizionario Ricordi, p. 981.)
 72

CONCERTO FOR DOUBLE BASS WITH ACCOMPANIMENT OF WINDS AND

PERCUSSION
Not available for examination.

Simandl, Franz {1840-1912)

Bohemian double bassist. Principal double bass in
the Vienna Court Orchestra from 1869. Taught at the Vienna
Conservatory. Published much music for the double bass
including a three volume method, an advanced school of solo
playing, many etudes, and solo pieces. {See Baker's ~­

graphical Dictionary, p. 1517.)

KONZERT, OP. 75
Schmidt, presently Soviet publication 28790, available
through Leeds. Difficult.
Orchestration unavailable. Piano reduction available.
Tuning:
•
~-

I. 4/4, Allegro maestoso, 219m., A major, sonata form.

II. 3/4, Adagio, 97 m., E major, ternary. III. 2/4,
Allegro energico, 235 m., A major, sonata-rondo.
Technical demands from the bottom of the orchestra
range through the solo range. Limited use of the natural
harmonics. Also some use of double stops. Although re-
warding to the player technical!~, it is rather limited in
musical interest.

Sommer, Max
No biographical information available.
CONCERTO NO. 1 IN E

Not available for examination.

Sperger, Johgnn Matthias

For biographical information see Chapter III.
CO:NCERTO NO. 1 IN E-FLAT MAJOR

Unpublished. MS in Grossherzogliche Regierungs-

bibliothek, Schwerin, GermaQ7.
Tuning:
,. •
•

Moderato

?:c r 1Ft!ftJ 1t·R r ~ 1ftltl 1fftff1f i

Total work unavailable for examination.
CONCERTO NO. 2 m B-FLAT MAJOR

Unpublished. MS in Grossherzogliche Begierungs-

,
bibliothek, Schwerin, German7.
Tuning:
.. • j
 ?4
Allegro moderato

Total work unavailable for examination.

CONCERTO NO. 3 IN A MINOR
See Chapter III.
CONCERTO NO. 4 IN F HAJOR
Unpublished. MS in Grossherzogliche Regierungs-
bibliothek, Schwerin, Germany.
Tuning:
•
•

Total work unavailable for examination.

CO~CERTO NOo 5 IN E-FLAT MAJOR
Unpublished. MS in Grossherzogliche Regierungs-
bibliothek, Schwerin, Germany.
Tuning:
•
•

Allegro ~ . •

'i; ,rrt r $rrr rrtf 1~ f¥fq,

1 1
 75
Total work unavailable for examination.
CONCERTO NO. 6
Unpublished. MS in Grossherzogliche Regierungs-
bibliothek, Schwerin, Germany. Unavailable for
examination.
CONCERTO NO. 7 IN E-FLA.T MAJOR
Unpublished. MS in Grossherzogliche Regierungs-
bibliothek, Schwerin, GermaQY.
Tuning:
,.

Allegro moderato

?: $ r AIrtff ItJt 7]z]7j4{

Total work unavailable for examination •
..
KONZERT A-DUR FUR KONTRABASS (NO. 8)
Pro Musica Verlag 176, ed. E. Muller. Very difficult.
Orchestration available for purchase. Piano reduction
available.
Tuning:

Allegro
..s:z...---

'I NJI I

I. 4/4, Allegro, 327m., A major, sonata form. II. 3/4,

 76

Adagio, 83 m., D major, variations. III. 6/8, Moderato,

344m., A major, rondo.
This concerto is in a very high range, almost exclu-
sively, particularly in the first two movements. It
appears that some of the "octave higher" indications may
be in error as on P. 4, mm. 21-22 of the first movement.
It is a good piece for its style, but strenuous for the
performer. MS in Grossherzogliche Regierungsbibliothek,
Schwerin, Germany.
Instrumentation 2-1-0-0; 2-0-0-0; strgs.
CONCERTO NO. 9 IN G MAJOR
Unpublished. MS in Grossherzogliche Regierungs-
bibliothek, Schwerin, Germ~.

Tuning:
•

2
447

Total work unavailable for examination.

CONCERTO NO. 10 IN D MAJOR
Unpublished. MS in Grossherzogliche Regierungs-
bibliothek, Schwerin, GermaQY.
Tuning:
?: ••
•
 ??
Allegro moderato

~~ c t If tt IFJ J ': IJ JJ 13'* J §L

Total work unavailable for examination.

CONCERTO NO. 11 IN E-FLAT MAJOR
Unpublished. MS in Grossherzogliche Regierungs-

Tuning: ,
bibliothek, Schwerinl Germany.
P•
.. •
•

Allegro moderato

Total work unavailable for examination.

CONCERTO NO. 12 IN D MAJOR
Unpublished. MS in Grossherzogliche Regierungs-
bibliothek, Schwerin, GermaQY.
Tuning:
,~ ..
Allegro moderato

Total work unavailable tor examination.

 78
CONCERTOS NO. 13 - 18
Unpublished. MSS in Grossherzogliche Regierungs-
bibliothek, Schwerin, Germany. Unavailable for
examination.

Stamitz, Karl ( 1746-1801)

Violinist and composer. Son and pupil of Johann
Stamitz. From 1762 he was a violinist at Mannheim. In
1770 he went to Strasbourg, and in 1785 he was concertmaster
to the Due de Noailles. In 1790 he became conductor at
Jena. His works include seventy symphonies, seven violin
concertos, and several string quartets. (See Baker's
Biographical Dictionary, p. 1555.)
CONCERTO IN RE MAGGIORE, OP. 1
Doblinger D 8414, ed. 0. Gianelli, 1951. Difficult.
Orchestration unavailable. Piano accompaniment avail-
able.
Tuning: •
•

I. 4/4, Allegro moderato, 170m., D major, sonata form.

II. 3/8, Andante, 74 m., D minor, binary. III. 2/4,
Allegretto, 179m., D major, rondo.
This piece is notated at actual pitch. Published as
 ?9

an arrangement, it is now certain that this is not an

original work. It is a· very pleasant piece of music, well
edited, and worth the time and effort spent.

Storch, Emanuel (1841-1877)

Bohemian double bassist. Studied at the Prague Con-
servatory from 1855-1861 with Joseph Hrabe. Later principal
double bass in the Gewandhaus Orchestra in Leipzig. Com-
positions include double bass etudes and transcriptions.
(See Warnecke, Ad Infinitum~ Kontrabass, p. 55.)
CONCERTO FOR DOUBLE BASS
Schott. Unavailable for examination.

Teubner, Herbert
No biographical information available •
..
KONZERT E-MOLL FUR KONTRABASS UND PIANO
Fotodruck Arno Brynda, Berlin-Schoneberg (no date, but
probably post-1945). Difficult.
Orchestration unavailable. Piano accompaniment avail-
able.
Tuning:
•
•
 80

I. 4/4, Allegro moderato (J=84), 121m., E minor,

rhapsodic in form. II. 4/4, Andante (Langsam gehend J=49),

F major, ternary. III. 2/4, Allegro moderato (J•92), 92 m.,
E minor, modified rondo form.
Neo-classic in style and tonal in concept, the work has
some melodic transformation between movements bordering on

cyclic treatment. The piece is economical of means, even

in the rhapsodic first movement. Technically, it is not

overly demanding.

Tubin, Eduard

See Chapter III.

Tuthill, Burnet

See Chapter III.

Valls, Pedro (1869-1935)

Catalan Professor of double bass. Educated in Spain

and later in Argentina. Returned to Spain in 1892 and

played and taught in Barcelona. Appeared as soloist with

many orchestras. A dedicated pedagogue, he was influential
in the development of numerous students. Composed many
works for the double bass, including a method. (See
Joaquin Pena, Diccionario ~ l! Musica Labor.)
CONCIERTO DE CONTRABAJO "LAS CHIFLADURAS DE UN"

MS. Difficult.

Orchestration unavailable. Piano accompaniment

available.
 81

Tuning:
•

Allegro Lento

I. 6/8, Allegro, Lento, and Andante, 52 m., A major, free

form. II. 4/4- 2/4, Moderato, 294m., A major, -theme

and variations. III. 2/4, Andante molto, 35 m., A major,

ternary. IV. 4/4, Allegro non troppo, 24m., A major,

free form.

The notation is at actual pitch for a double bass of

three strings. The composition is really one large move-

ment in a bravura style. The first movement serves as an

introduction to the theme and variations, the third move-

ment is a conclusion of the variations, and the fourth

movement is a short coda. The music is very light, and the

subtitle translates, "A whimsey of mine." The MS is found

in the Torello bequest in the library of the Curtis In-
stitute of Music, Philadelphia, Pa. Unfortunately, several
pages of the piano accompaniment are missing from the MS.

Vanhal, Johann Baptist (1739-1813)

The name is variously spelled Wanhall, Wanhal, and

van Hall. Bohemian composer, studied in Vienna with

Dittersdorf and later went to Italy for further study.
 82

Settled in Vienna. Extremely prolific composer. His com-

positions include one hundred symphonies, twenty-six masses,

two Requiems, thirty-six offertories, many string quartets,

and much piano music. (See Baker's Biographical Dictionary,

p. 1753.)
..
KONZERT FUR KONTRABASS UNO ORCHESTER (E-DUR)

Hofmeister 7206, ed. Heinz Herrmann, 1957. Difficult.

,
Orchestration unavailable. Piano reduction available.

Tuning:
•.
•

I. 4/4, Allegro moderato, 136 m., E major, sonata form.

II. 3/4, Adagio, 109 m., B major, ternary. III. 2/4,

Allegro moderato, 283m., E major, sonata form.

This is a very well-written work. It is similar to

the concertos of Dittersdorf in style and technical de-

mands. Originally one octave higher, in E-flat.

MS in Grossherzogliche Regierungsbibliothek, Schwerin,

Germany.

Instrumentation 0-2-0-0; 2-0-0-0; strg.

,
Vecsey, Jeno (1909- )

Hungarian-born composer. Educated at the University

•
 83

of Sciences and the Academy of Music in Budapest. From

1945, Director of the Music Department of the National

Library in Budapest. Editor of various publications con-

cerning both Franz Joseph and Michael Haydn. Compositions:

Ballet, various works for orchestra, concertina for piano

and orchestra, string quartet, and string sextet. (See

Simmons and Townsend, Who's~ 1a Music, p. 219.)

..
KONZERTANT MUSIK FUR KONTRABASS U. KAMMERORCHESTER ODER

KLAVIER
Astoria Verlag AV 720, 1962. Difficult.

Orchestration available for purchase. Piano reduction

available.

Tuning:
•

Allegro

• ttft
M

~r A1.;t!~ A~~ ft ' A

I. 2/4, Allegro, 140m., no key, binary. II. 3/4,

Lento moderato, 65 m., no key, ternary. III. 3/8,

Allegretto, no key, rondo.

This concerto makes use of tone clusters, pandia-

tonicism, and ostinato. The intervals of the P4, PS,and

tritone seem to be a unifying force. An interesting piece

using percussiveness and lyricism to create a balanced

 84

melodic line. Dedicated to Lajos Montag.

Instrumentation 2 (picc.)-0-3-0; 0-3-3-0; tym., perc.,

clst., hp., pa.

Wallner, Curt

No biographical information available •

.
KONZERT FUR KONTRABASS UNO ORCHESTER

Hofmeister, 1958. Very difficult.

Orchestration available for purchase. Piano re-

Tuning:
,
duction available.

.• •

Con moto moderato

~ •
-----.
-#-"-
.-.... =II:.
3 ... ~ a f::. t
,jl-

_:r c } f Rr"WIJif EFE K E11i¥

7

~ .

r. 4/4, Con moto moderato (J=80), 175m., no key, modified

sonata form. II. 3/4, Tranquillamente e molto espressivo

(~=60), 60 m., no key, ternary. III. 2/4, Allegro rna non

troppo cJ=96), 202 m.' no key, rondo.
This concerto is a tiresome piece. The melodic element
is limited and sustained by overuse of the sequence.
Although none of the movements is in a key, nevertheless

the writing is tonal. The first and last movements seem

to center on the tone ~· The second movement seems to

suggest C-sharp, while the finale again suggests ~·

 85

Instrumentation unknown.

Weiller, Ernest
A member of the Paris Opera Orchestra and the

Lamoureux Orchestra.
CONCERTO NO. 1 IN G (1912)
Joubert. Not available for examination.
'
DUEXIEME CONCERTO EN RE MAJEUR, OP. 308

Gallet E.G. 7589. Moderately difficult.

Orchestration unavailable. Piano accompaniment avail-

able.
Tuning:

I. 2/4 - 4/4, Allegro, 108m., D major, ternary.

The style is much like many of the Paris Conservatory

pieces. In fact this piece was awarded a first prize at
the Conservatory. The concerto is fragmentary, and rather
shallow music. It is neither very difficult nor very re-
warding.

Werner, A.
Possibly August Werner (1841-1900). Piano teacher in
 86

St. Petersburg. (See Merseburger, Kurzgefasstes

Tonkunstlerlexikon, p. 681.)

Possibly Arno Werner (1865-1955). German organist

and musicologist. (See Baker's Biographical Dictionary,

p. 1781.)

CONCERTO FOR DOUBLE BASS

Not available for examination.

Werther, Franz (1872- 1 )

German violinist. Studied at the Vienna Conservatory.

Concertmaster of the G~rtner Theatre in Munich, 1912-1925.

Composer of several operas. (See Merseburger, Kurzgefasstes

Tonkunstlerlexikon, p. 682.) •

CONCERTO FOR DOUBLE BASS

Not available for examination.

Winsel, Louis (.1880-1966)

German double bass virtuoso. Principal double bass in

the Hamburg Orchestra under Arthur Nikisch for thirteen

years, and of the Cincinnati Symphony for thirty-three

years. Appeared in Europe and the United States as a

recitalist. Wrote and arranged much music for solo double

bass, all of which is available from his publisher. (See

Parchman in Correspondence Bibliography.)

"CONCERTO" NO. 1 IN C MAJOR FOR DOUBLE BASS

Parchman (Ozalid). Difficult.

 87

Orchestration available. (Score exists, but no parts

are published.) Piano reduction available.

Tuning:
?·• • •

Maestoso energico

I. 3/4, Maestoso energico, 143 m., C major, variations.

II. 4/4, Andante sostenuto "Rom~nce", 42 m., G major,

binary. III. 2/4, Allegretto grazioso scherzando, 85 m.,

- major, rondo.

This concerto is in a bravura style. Musically, the

concerto is shallow and trite. The solo part and piano

score are both Ozalid copies and the MS is poor.

Instrumentation unknown.

"DEVIL'S CONCERTO" IN A MINOR FOR DOUBLE BASS

Parchman (Ozalid). Difficult.

Orchestration available. (Score exists, but no parts

are published.) Piano reduction available.
Tuning:
•
 88

I. 12/8, Allegro moderato energico, 123 m., A minor,

modified rondo. II. 4/4, Adagio lamentoso "Elegy",

42 m., E major, binary. III. 3/8, Allegro brilliante

(Devil's Dance), 181m., A major, ternary.

Like the Concerto No. 1 of this same composer, the

style is bravura and the music is dull. This is also

Ozalid process, but the MS is better than the Concerto No. 1.

Instrumentation unknown.

Wrba, Franz

No biographical information available.

CONCERTO IN D

Not available for examination.

Wuorinen, Charles (1938- )

Pianist, singer, conductor, composer, born in New York.

Began composing at age six and later studied composition

with Jack Beeson, Vladimir Ussachevsky, and Otto Luening.

B.A. and M.S. from Columbia University. Received prizes

from the New York Philharmonic, the American Academy, and

the Guggenheim Foundation, and commissions from the

Koussevitzky, Ford, and Fromm Foundations. Currently

a member of the Composition faculty of the New England

Conservatory. (See Who's~ 1n America, 25th Ed., p. 2407.)

CONCERT FOR DOUBLE BASS ALONE, 1961

Composers Facsimile Edition, 1961. Very difficult.

Tuning: 4'J~i·....-E-·-.-----
• ..... -..,._
 89

I. Varying meters (J=60), 153m., no key, free form.

This concerto is serial music. The initial tone row

consists of eleven tones. This seems to be used in the

traditional ways ( P, I, R, and RI) and also jumbled ··and

transposed. There is extensive use of timbre changes and

these may also be serialized. This is a very difficult

work, both technically and musically. Playable only on a

five-string instrument. Dedicated to Bertram Turetzky.

MS with the publisher.

Zimmermann, Franz Anton (1741-1781)

Organist at Pressburg and Kapellmeister for the

Furst-Primus Batthyany in Hungary. He left much instru-

mental music, chiefly in manuscript. (See Blume, ~ Musik

jn Geschichte und Gegenwart, Vol. 14, p. 1294.)

1. CONCERT IN D
Publisher unknown (Ozalid). Very difficult.
Orchestration unavailable. Piano reduction
unavailable.

Tuning:

•
 90

I. 4/4, Moderato, 186m., D major, modified sonata form.

II. 3/4, Andante cantabile, 122m., A major, binary.

III. 4/4, Allegro moderato, 285m., D major, rondo.

A very demanding concerto, technically and musically,

especially in the first and last movements. The middle

movement is somewhat easier technically. Very lyrical.

MS in Grossherzogliche Regierungsbibliothek, Schwerin,

Germany.

Instrumentation 0-2-0-1; 2-0-0-0; strg.

2. CONCERTO

Publisher unknown (Ozalid). Very difficult.

Orchestration unavailable. Piano accompaniment

unavailable.
Tuning:
•

Allegro moderato ~ ~

j.~ c(v fl Irtr 1flt1t ~ ~J P 1 rrru ar ~: $

I. c, Allegro moderato, 173 m., D major, sonata form.

II. 2/4, Adagio cantabile, 105 m., A major, binary.
III. 6/8, Moderato, 204m., D major, rondo.

This concerto is listed in the Kade catalogue as in

E-flat, and apparently intended for the violone. Double

stops of a third are used extensively. Both the first and
 91

second movements have cadenzas. MS in Grossherzogliche

Regierungsbibliothek, Schwerin, Germany.
Instrumentation 0-2-0-1; 2-0-0-0; strg.
 92

CHAPTER III

TECHNICAL ANALYSES OF TEN SELECTED CONCERTOS

Fontaine, Fernand Marcel (1921- )

Belgian double bassist and · ,~mposer, born in Lir-qe.

Studied the double bass with Felician Munot and composition

with Louis Lavage at the Royal Conservatory in Brussels.

Awarded the highest diploma in double bass. Since 1953,

double bassist with the Symphony Orchestra of the Belgian

Radio. From 1962-1968 double bass soloist of the "En-

semble a archets: Les Soloists de Bruxelles." Professor

of Double Bass at the Royal Conservatory of Mons. Composer

and arranger for radio and television. Other compositions

include the Prelude and Allegro f2£ Double Bass ~ Piano 2£

Orchestra. (See Fontaine in Correspondence Bibliography.)

CONCERTO POUR CONTREBASSE 'A 4 OU 5 CORDES AVEC ACCOMPAGNE-

MENT DE PIANO OU D'ORCHESTRE

Editione Maurer, Brussels, 1961. Difficult.

Orchestration available on rental (2-2-2-2; 2-0-0-0;

hp., clst. Lglock~.) Piano reduction available.

Tuning:

•
 93
Dedicated to Gaston Lugerot, Professor of Piano at the
National Conservatory, Paris.
Musical Commentary: I. 4/4, Allegretto (J =104) ,-Andante
(J=86), 177m., A-flat major, sonata form. II. 3/4, Largo
(J=44-46), 51 m.,·E minor, ternary. III. 4/4, Allegro
vivo (J=llG-120), 150m., A-flat major, rondo. The entire
concerto is quite lyrical. The first movement has two
definite melodic ideas. The first melodic idea is in the
Phrygian mode, Ex. 1. The second in E-flat major, Ex. 2.
Ex. 1, Solo part p. 1, mm. 5-8.
v
n ,.. > - ~ ·-I! .---. ~ n v

}clf 1trrtfJ=f 1tttt l't I E-

Ex. 2, Solo part p. 2, mm. 32-38.
Allegretto (J=l20)

Th~ second movement is the more lyrical. The middle section

concludes with a cadenza which effects a return to a repe-
tition or the first section, this time an octave higher.
The Finale is a rather straight-forward first rondo form.
Technical Commentary: This entire work lies gratefully on
the instrument. Although the greatest technical problems
are found in the first movement, they are not overwhelming •
.All of the difficulties might be quite logically solved.
 94
The passage at 5 is possibly more easily executed with the

fingering in Ex. 3.
Ex. 3, Solo part P• 1. mm. 28-37.
Andante (J =86)

0
I------
~I

I~

The second movement demands a very legato style

throughout. The first part of this movement is in the

,,\iddle range of the instrument and presents no technical

difficulties except the smooth legato style. The cadenza

is short and not difficult. The final section of this

movement is a repetition of the first section, an octave

higher. Again the style must be smooth and legato. The

downward leaps of a diminished seventh are possibly best

accomplished with the use of the thumb, Ex. 4.

 95

Ex. 4, Solo part p. 5, mm. '39-42.

3 3 + 3

The final movement is rather easy, technically. The

open fifths at~ and j11] offer the only serious problem,

that of intonation, Ex. 5.

Ex. 5, Solo part p. 7, mm. 13-22.

w
2:fp~; FZJfJW Ef I~f=!i ~ tfl~fi&l] U I

n n n n n M
q· · · ·· · nn b' ·· · · q· ·· . .

?\~"WU11~ PUtp 11t!tl l~fUt;t?,

~O~Q - - 0.. - fOCO
t=----
This concerto is excellent teaching material. It is

musically worthwhile and compact. It is technically

rational and just demanding enough for the budding virtuoso.

 96.

Henze, Hans Werner (1926- )

Born Gutersloh, Germany. Educated in Heidelberg and
Paris. Pianist and percussionist. Studied composition
with Fortner and Leibowitz. Settled in Naples in 1956.
(See Baker's Biographical Dictionary, p. 696.)

CONCERTO PER CONTRABASSO, 1966

B. Schott, Mainz, 1967. Very difficult.
Orchestration available on rental (2 [picc~-2 [E.h.]-
2 [b-el.]; 2-2-1-0; hp.; vln. a4, vla. a4, vel. a4,
d.b. a2.)
Tuning:
•

MS with the composer. World premiere, November 1967,

Chicago, Illinois, Gary Karr, Chicago Symphony Orches-.
tra, Martinon. Recorded for DGG by Gary Karr, English
Chamber Orchestra, the composer conducting. Recording
to be released late 1969.
Musical Commentary: I. 2/4, Moderato cantabile (J=60),
dodecaphonic, free form. II. V&r,7ing meters, Vivace
(~•160), dodecaphonic, ternar.r. III. 3/2, (J•50), dodeca-
 97
phonic,chaconne.
The first movement is rather slow throughout. The
second movement is in a three-part form. The first and
last sections of this second movement are characterized by
constant meter changes (at times every measure) while the
middle section is in a constant triple meter. The dynamics
are meticulously marked throughout the work and may possibly
be serialized.
Technical Commentary: This work is currently being re-
vised by the composer. All examples used here, and all
comments, are based on the original and unrevised score. 1
The first movement appears to be the least demanding
of the three. The highest note required is a sounding f'
(written e-flat''). The difficulties in this movement seem ·
to lie in the disjunct solo line and the rhythmic com-
plexities, Ex. 6.
Ex. 6, Solo part p. 4, mm. 5-9, from orchestral score.
Moderato cantabile <J=GO)

"'""f ..,. 3 3 - - - - 3 _ _,
. ,. , -======== -r r-

g:fQ· f~ftr (3 3!rja~ AI/

1
-=========·= ""' f.:::::=- F
Hans Werner ~enze, Concerto per Contrabasso, Copyright by
B. Schott's Sohne, Mainz; Used by permission of Associated
Music Publishers, u.s. Agents.
 98

In the second movement, the resources of the left

hand are taxed to the fullest, executing contiguous double
stops, sometimes interspersed with a single pizzi~ato note,

all at a very rapid tempo, Ex. 7.

Ex. 7, Solo part p. 23, mm. 1-6 9 from orchestral score.
Vivace

-2:~-t--±'~J~~t,J', ~=s !f ~r=!:~JJ

* ~~
oa.sio-~ .s+o.c.cCIL+o
*
1"Y"\CU"C~O ~ s~ ..... r\"Q. .ft-
& "...... I~
f ~

rv

The final movement abounds in double stops, making

use of the major and minor sixth, which in the lower
positions of the double bass necessitates adjustments in
the conventional left-hand technique, either by extension
or by employment of the thumb, Ex. 8. Rather widely-
spaced arpeggiated chords are also used, Ex. 9.
 99

Ex. 9, Solo part p. 107, mm. 1-4, from orchestral score.

Timbre contrasts are achieved through the use of de-

vices such as col legno, pizzicato, and con sordino.
Contrasting texture and pointillism are both accomplished
by the juxtaposition of natural harmonics at actual pitch
and stopped notes at the usual octave transposition, Ex. 10.
Ex. 10, Solo part p. 37, mm. 1-8, from orchestral score.
()=132)

~ • 0 • 0 ~ • • • 0 ••

To the same end, artificial harmonics are used, Ex. 11,

and a flautando timbre is achieved through the use of the
light, fast bow coupled with tones, at actual pitch, pro-
duced by pulling the string to one side rather than de-
 100

Ex. 12, Solo part p. 85, mm. 1-6, from orchestral score.
(J= 72)

There are some instances in this concerto where a natural

harmonic, as notated, is not possible. There are also

places where the distribution of the double stops and (or)

the contour of the line makes successful execution in per-

formance doubtful, Ex. 13.

Ex. 13, Solo part p. 105-106, mm. 1-4, from orchestral score.
<J=92)

The revised edition may eliminate some of these problems.

Perhaps this is the most difficult of all of the original

solo concertos. (All above examples are, of necessity,

taken from the orchestral score and have been notated for

solo tuning by this writer.)

 101

Koussevitzky, Serge Alexandrovitch (1874-1951)

Born Vishny Volotok, Russia. Educated at the Phil-
harmonic Society, Moscow. Double bass virtuoso, conductor,
and composer. Lived in Russia and Germany intermittently
until 1920. Settled in Paris 1920-1924. Conductor of the
Boston Symphony Orchestra 1924-1951. Founder of the
Berkshire Music Center, Lenox, Massachusetts. (See Moses
Smith, Koussevitzky, [New York: Allen, Towne, and Heath,
J. )
Inc • , 19 4 7

CONCERTO, OPUS 3
Boosey and Hawkes, International, C.F. Peters, Forberg,
Doblinger, and Musica Rara. Difficult.
Orchestration available on rental from Boosey and
Hawkes or from Forberg through C.F. Peters (2-2-2-2;
4-0-0-0; hp.; strgs.) Piano reduction available from
all above publishers.
Tuning:

Allegro

MS in the Library of Congress, Washington D.C.

 102

Musical Commentary: I. 4/4, Allegro, 148 m., F-sharp

minor, binary. II. 3/4, Andante, 103m., A major, ternary.

III. 4/4, Allegro, 128 m., F-sharp minor, binary.

The three movements together constitute a large binary

form. The first and second movements, which are played

without interruption, comprise a large A and B, while the

last movement is an abbreviated return of parts of each of

these in order. All three movements are quite lyrical with

very clearly defined melodic ideas. The style is that of

the late romantic Russians, Tschaikowsky and Rachmaninoff.

Rumors persist that Rachmaninoff~ or perhaps Gli~re, had a

hand in the composition of this work. Chronologically this

is possible, but the rumors remain unproved.

Technical Commentary~ The entire work is well-written for

the instrument. In the first movement, the transition from

the first to the second theme is more easily executed by a

greater use of the D string than the passage might suggest

at first glance. If the slurring in groups of six eighth

notes is to be successfully executed, a very controlled bow

of moderate speed must be maintained, Ex. 14.
Ex. 14, Solo part p. 3, mm. 10-17. 1

1
Serge Koussevitzky, Concerto, 2£• l (New York: Inter-
nat~onal Music Co., 1948).
 103

ijt¥tfiiJ ~~ IJ,J J [JP£ )_gJl

~ - r=__ ~/
3 _ _ _ _ __..) cl. -------------------- ··- - - · - - - - - - - - - · - - - -

ci------·-·· ---- .. -·--- ..

~-------------·-·---

Although it is not so indicated, it was the wish of

the composer that the final thirteen measures of. the second

movement be played at actual pitch, making use of the

natural harmonics, Ex. 15. These measures are so played

by the composer on his recording of this work. 1

Ex. 15, Solo part p. S, mm~ 91-103.

~v~-----------------------------------------------------

~ ;. ~ : ~ ~ + ~ : +: : ~ ;_ £1_~ ~ ~ ~ ~ ! ~
~ -J_, REJ IU: tJJJ Ir J I fJ l
~ ~ D..rJ I J J IiJ u
, __n

1
Serge Koussevitzky, Master 2f ~Double Bass, RCA Victor
Red Seal 99-2000-A. Serge Koussevitzky, double bass.
Pierre Luboshutz, piano.
 104

In the final movement, the recapitulation of the

first theme of the first movement is perhaps more effpc~ive

if the entire passage remains in the higher octave, Ex. 16.

Ex. 16, Solo part p. 6, mm. 51-61.

Written

This is possibly one of the best known of the double

bass solo concertos. Though it may be of limited musical

consequence, it embodies many technical challenges which

may be met and overcome with gratification to the performer.

 105

Niblock, James (1917- )

Born Scappose, Oregon. Educated Washington State

University, Colorado College; Ph. D., University of Iowa.

Violinist. Studied composition with Roy Harris and Paul
Hindemith. Chairman, Department of Music, Michigan State

University, East Lansing, Michigan. ASCAP. (See Who's Who

in America, 25th edition, p. 1612.)

CONCERTO FOR DOUBLE BASS AND ORCHESTRA

Unpublished MS. (Ozalid copies available from the

composer.) Difficult.

Orchestration available from the composer, on rental,

or for purchase on Ozalid copies (2-2-2-2; 4-2-2-0;

tym., perc., strgs.) No piano reduction exists.

Tuning:

Moderato

World premiere, April 1968, East Lansing, Michigan,

Gary Karr, Michigan State University Orchestra, Burk.
Musical Commentary: I. 4/4, Moderato, 187m., C tonality,

modified sonata form. II. 3/4, Adagio, 114m., C tonality,

ternary. III. l~~: , Scherzo (Jor~=l26-132), 162m.,

G tonality, ternary. IV. 4/4, Adagio-Allegro giusto, 118m.,
 106

C tonality, rhapsodic.
The concerto is written tonally. The rhythmic ele-
ments are rather straight forward. The first movement in-
eludes an extended cadenza. The third movement is per-
meated with syncopation, the most prominent being the
division of the 4/4 into 3+2+2, Ex. 17.
Ex. 17, Solo part p. 9, mm. 27-28.
( ·'=126-132)
r •.a. ;a. -
p> ~ > ~;~>; ~

The final movement is rhapsodic in style and based on one

theme which in itself is reminiscent of the first movement.
Technical Commentary: The technical demands of the first
movement are of medium difficulty. The cadenza exploits the
natural harmonics quite thoroughly, but all is within the
technique of a well-schooled player. The greatest challenge
to the player is found in the sequential passage in the
cadenza. Finger patterns and string crossings convenient to
the player will have to be devised. One possible solution
is given in Ex. 18.
Ex. 18, Solo part p. S, mm. 10-14.
v
~ "r: G o ?> + + 1' V-- 'l -t-+ + -- ;a. + '"i- T
 107

3 n " ,., 1/

$Q@~~+~~~ rtr~~
The left hand patterns should be practiced slowly until the

sequential movement of the hand is assured. The bowing

might also be isolated and approached by using only the

open string involved first, and then adding the left hand,

Ex. 19.

Ex. 19
Original
line

Practice
·&t iYlfJ mrp[[[r rrrr lfa lliJl I
I

pattern

The first and last sections of the third movement lie

in the more familiar orchestral range with slight excur-

sions into the solo range. The middle section, however,

exploits the solo range and demands a very smooth movement

of the left hand free from the rather conventional shifting

often associated with the double bass, Ex. 20.

 108

Ex. 20, Solo part p. 11, mm. 19-23.

(.J =126-132)

";_.+v n v n

B
- - .... I ~l .:lol 4-o

The final movement demands a rhapsodic style which

again requires the very smooth shifting of the left hand,

tending to remain on one string, rather than cross, for

the sake of sustaining the line and for consistency of

tone quality, Ex. 21.

Ex. 21, Solo part p. 13, mm. 5-10.

 109

?oradowski, Stefan (1902-1967)

Polish composer. Studied at the Conservatory of

Poznam with Opienski. Appointed to the Institute at Poznan

in 1930. Other compositions include five symphonies, an

oratorio, concerto for viola d'amore, rhapsody for violin,

chamber music. Published books on harmony, composition,

and orchestration. (See Baker's Biographical Dictionary,

p. 1267.)

KONCERT, OPUS 26

Ars Polona, 2525. Difficult.

Orchestration available for purchase in photo copy

from Polish National Library ( 2 [pice~ -2 [ E .h .J -2-2;

4-2-3-1; tyro., strgs.) Piano reduction available.

Tuning:
-2~:---%•---.------(When performed with piano)
#"•

, ..
• (When performed with orchestra)

Dedicated to Adamowi Bronistawowi Ciechanskiemu.

Musical Commentary: I. 4/4, Allegro non troppo, 87 m.,

E tonality, ternary. II. 4/4, Adagio, 60 m., F tonality,

f\
 110

binary. III. 12/8, Vivace, 178m., E tonality, ternary.

The first movement is not in any definite key, but is

built on the tone ~· The harmonic structure uses a great

many open fifths, also, seventh and ninth chords. The

melodic line, particularly in the first and last sections,

abounds in major and minor seconds.

The second movement begins in F minor and is based on

two melodic ideas spun out of the second melodic idea of

the first movement. The harmonic structure is chromatic

with much use of parallelism. The entire harmonic fabric

is quite contrapuntal.

The final movement is in the form of a scherzo and trio,

again based on ~· The melodic line is similar to that of

the first movement, using many major and minor seconds.

'rhe harmonic structure is somewhat thinner and less complex

than that of the first movement. The middle, or trio sec-

tion, is based on the melodic elements of the second move-

ment, plus a cadenza. The repetition is concluded with a

coda.
Technical Commentary: The first movement of this concerto

offers no great technical problems. More than one possible

fingering suggests itself at several places and in at least
one instance the editor has suggested two alternatives for

'the left hand. The use of the thumb is often helpful in

conjunction with the sixth and seventh position, Ex. 22.

 111

Ex. 22, Solo part, p. 2, mm. 23-28.

~ ~--;-~- -s- ~ -

-ti~~~~~~~w=m~w~
J.. _ _ __ _ _,___

'6u~--- - -----

he entire first movement requires a very clean detache

and utmost precision of execution between the left hand

and the bow.

The only serious technical problem in the second move-

ment is in conjunction with the harmonic passage at the

conclusion. The usual octave transposition is operative

here, but still the harmonics are very high, utilizing the
ninth and tenth partials on the D string, Ex. 23.

---=============--f --===========--- ~
 112

The final movement is the most extended of the three.

The scherzo and its repetition both demand a spiccato and

semi-spiccato bowing much of the time to avoid a scrubbi-

ness and to achieve clarity of line.

The concerto is heavily edited with fingerings often

employing the four-finger system. In some instances a sub-

stitution of fourth or second finger in place of a third

finger will adjust the fingering to our more prevalent

three-finger system. In other cases it seems better to re-

vise the suggested fingering, Ex. 24.

Ex. 24, Solo part p. 5, mm. 15-16 •

.:::dited fingering

Suggested fingering

,
M/

In two instances in the solo part p. 5, mm. 19-20 and

p. 5, mm. 26-27, it would seem more prudent to ignore the

 113

octave higher indication, playing the two passages at

written pitch.

This is a good work and well-written for the instru-

ment. It is certainly worthy of study and performance both

from a musical and technical standpoint.

 114

Rohrig, Emil (1882-1954)

Born in Rettart, Germany. After violin study with

Chemnitz, engaged as a violinist and conductor at Krefeld

and Aachen. Other compositions include music for brass,

choral works, and concertos for viola and trumpet. (See

Baker's Biographical Dictionary, p. 1361.)

..
KONZERT FUR KONTRABASS

Verlag w. Ohman, 1942. Moderately difficult.

Orchestration not available. Piano accompaniment

available.

Tuning:

:;r;cf
~
L'= 1 = a= =Ef*rJ r· £ tJ ~J~
I
'

Dedicated to Kurt S~anke.

Musical Commentary: I. 4/4, Grave-Allegro agitate, 243m.,

B minor, sonata form. II. 6/8, Andante cantabile, 72 m.,
G-flat major, ternary. III. ¢, Allegro moderato, 270m.,
B minor, sonata form. This concerto is written tonally
although there is some obscuring of tonality by the use of

whole-tone tetrachords in the melodic line, particularly

in the first movement. The main body of the first movement

is in sonata form, but key relationships are not
 115

traditional. The first and second movements are joined by

a transitional passage in the piano accompaniment which

affords the double bassist the opportunity to adjust the

G string to F-sharp for use in the second movement. The

third movement, which is separated from the second by a

pause, is again in B minor and in sonata form with two

distinct thematic ideas.

Technical Commentary: The first movement offers no great

technical problems, except to keep the melodic line flowing.

The shifts of the left hand must be kept as smooth as

possible especially between the thumb positions and the

lower positions, Ex. 25.

Ex. 25, Solo part p. 1, mm. 31-32.

,
M7"

The artificial harmonics will be more effective if

changed and played as natural harmonics, playing the C-sharp

on the G string by pulling the string to the side, Ex. 26.

Ex. 26, Solo part p. 3, mm. 54-56.

 124

This concerto is rather unusual in its use of the

0rchestral range for solo purposes. The work is demanding

Jf the player's conventional technique and challenging to

his .musicianship. Its only flaw is in the low range

coupled with use of orchestra tuning. The entire piece

might profit if it were transposed up a step and utilized

solo tuning.
 12c

The double stops prevail again in the slow movement

but are not technically taxing. Technical difficultiPs in

this movement are found in the several thirty-second note

passages. Here difficulties exist for both the left ~nd

right hand. A very clean and light melodic line with a

minimum of rubato must be maintained. In several instances

this line has an extensive melodic range plus a wide range

of bow technique, Ex. 39.

Ex. 39, Solo part p. 4, mm. 54-59.

.3
+

A similar passage occurs in the second digression.

The range of the melodic line is even greater but the bowing

is less complex, Ex. 40.

 129

Ex. 40, Solo part p. 5, mm. 17-21.

In each of these passages the difficulty is intonation and

the rather legato line. There are places similar to these

two in each of the cadenzas but here they are mitigated by

the rubato tempo. This movement requires much slow and

deliberate practice with a metronome.

The final movement is not particularly demanding.

Double stops are present again, but are neither difficult

nor used extensively.

This is a good concerto. It is technically demanding.

out nul unduly difficult. It has a rich singing melodic

line, rhythmic contrast, and form. It is a rewarding piece.
 .l ,.(.

~x. 42, Solo part p. 4, mm. 5-7.

Andante sostenuto (Second movement)

olo part, p. 6, mm. 57-58.

(Final movement)

~~~
f
=gr r 1 e =tr tr 1

There is also a basic rhythmic motive of a short prepara-

tory note. This rhythmic idea first occurs in the sol~.,

;>art, Ex. 43.

ex. 43, Solo part p. 1, mm. 4-5.

Allegro con moto

. p bo

The rhythmic idea reappears constantly throughout the con-

certo, Ex. 44.

Ex. 44, Solo part p. 4, m. 39.

(Second movement)
Solo part p. 6, m. 47.

(Final movement)
·~ n __,_,

The economy of material in this concerto, and adroit

shaping and reshaping of this material is most admirable.

Technical Commentary: The introduction of the first move-

ment presents no gigantic technical problems, aside from

the rapid tempo, until the final eight measures of the solo

~art. Here, though the tempo is relaxed considerably, the

performer is confronted with some rather difficult double

stops, Ex. 45.

Ex. 45, Solo part p. 1, mm. 32-40.

-====-=
 134

Another incidence of double stops occurs in toe final

measures of the first movement. Certain of tnese double

~tops require use of the thumb to span the interval, EY. 46.

Ex. 46, Solo part p. 3, mm. 37-45.

tr- t-.-_

Acute technical demands in the second movement are

concentrated in the cadenza. Double stops at the interval

of a minor sixth occur frequently. They require the use 0f

~he thumb to facilitate the interval. As usual with doub~e

stops, the execution of the double stop is as much a

oroblem for the bow as for the left hand. Clean execution

~ill depend upon recognition of this fact, Ex. 47.

:z.: x:. 4 7, Solo part p. 5, mm. 13-16.
 135

Ral 1d arpeggiated figures, treated sequentially, are

technically involved and strenuous to execute, F.x. 48.

Ex. 48, Solo part p. 5, m. 1.

J; JJ Jp]~J J; J~J
cJ ...3 I+ l.:l..3.:at+ 1.3 o.) I+ I A

?: Jj J¥1 ,j J?: J1i)#j 14t/

.,..

In the final movement, one passage of double stops

suggests the use of the thumb in the lower positions in

order to expand the reach of the left hand. Careful

attention must be given to an even placement of the bow

throughout such a passage of double stops, Ex. 49.

Ex. 49, Solo part p. 6, mm. 33-37.

p
-----
..l

J-j_r-].,...-J-r---11
e # 1 d 1r=r r r=r r
1 1

A most difficult section for both right and left hand

involving quite clumsy string crossings occurs in this

 136

last movement, Ex. 50.

Ex. 50, Solo part p. 7, rom. 25-38.

This is a very well-written work but very d('roand j r •

for the performer both musically and technically. Although

~:he preparation of the concerto will be an arduous task,

even for the virtuoso player, the result should be most

gratifying to performer and listener.
 1.37

Tuthill, Burnet (1888- )

Born in New York. Educated at Columbia University

and Cincinnati College of Music. Business manager of

Cincinnati Conservatory, 1922-1930. Professor at South-

western College, Memphis, Tennessee, 1937-1957. Began to

compose late in life, but compensated hy increased pro-

ductivity. (See Baker's Biographical Dictionary, p. 1671.)

CONCERTO FOR STRING BASS AND WIND ORCHESTRA, OP. 46

Eastman School of Music, now through Carl Fischer,

1962. Difficult.

Orchestration available (2-2-2 [b. c1.];4-2-3-0; tym.)

Piano reduction available.

Tuning:
•

World premiere December 12, 1962, Rochester, New York,

Robert Zimmerman, Eastman-Rochester Symphony Orchestra,

Howard Hanson.

Musical Commentary: I. 2/4, Allegro moderato, 215 m.,

B minor, sonata form. II. 6/8, Vivace, 151m., B minor,

scherzo and trio. III. 3/4, 125 m., B minor, passacac:i ia.
 138

This concerto is an example of a tone-row ti·(·~ated

tonally. In the first movement the thematic material is

has0rl 0n a twPlve tone row. Ex. 51.

Ex. 51 (Concert pitch).

The first theme is the row sounded three times, Ex. 52.

x. 52, Solo part p. 1, mm. 3-16.

Allegro moderato

The second theme is the retrograde of the row, Ex. 53.

Ex. 53 (Concert pitch) •

• o:JE.

In the second theme the retrograde is stated once, Ex. 54.

 139

Ex. 54, Solo part p. 1, mm. 53-60.

In both instances this thematic row is treated tonally from

a harmonic standpoint.

The second movement is tonal both in melodic and

harmonic structurP.

The third movement is again based on a row, Ex. 55.

~x. 55 (Concert pitch).

--~-------------------~-----~

---~-
. . z-="--
. .......:...----:----::---- -- • ---
-----·-..-!·--...!!:.."...!1!·:__··--tt~:---
~· p.
-----·~~~~·...----------------------·--~$~.---

The movement is a passacaglia and the row is used as the

theme of the passacaglia, Ex. 56.

ex. 56, Solo part p. 5, mm. 31-36.

There are twenty statements of the passacaglia theme. All

are set in tonal harmonic structure.

Technical Commentary: The pointillism of the initial theme

suggests that the fingering be compartmentalized in as few

~ositionings as the needed lyricism will allow, Ex. 57.

 140

~x. 57, Solo part p. 1, mm. 3-16 •

.\llegro moderato

The transition passage leading to the second theme

~ust be very cleanly articulated due to the tempo. The

·;;reatest problem is with the bowing which involves cross-

string slurs. In this passage all of the sixteenth notes

must be equal, Ex. 58.

Ex. 58, Solo part p. 1, mm. 33-46.

 141

The lyric quality of the second theme suggests

execution on one string for smoothness of line and con-

sistency of tone quality, Ex. 59.

Ex. 59, Solo part p. 1, mm. 53-60.

~ "'0 r;.

I r ~ftt=rv
The second movement presents no great challenge to the
left hand. However, the movement is more effective if the

sixteenth note passages are played using a spiccato bowing.

The technical demands of the final movement are all

within conventional technique. The only problem is one of

intonation in the fourteenth statement of the passacaglia,

Ex. 60.

Ex. 60, Solo part p. 6, mm. 44-49.

This concerto is cleverly written. The use of a tone

row for melodic purposes within a tonal framework allows

 143

APPENDIX

Guide to Publishers

ARS POLONA Ars Polona: Krakowskie Przedmiescie 7,

Warsaw, Poland.
ARS VIVA VERLAG Ars Viva Verlag (Hermann Scherchen):
Weihergartenstrasse 5, Mainz, Germany.
ASSOCIATED (AMP) Associated Music Publishers: 609 Fifth
Avenue, New York, N.Y., 10017.
ASTORIA VERLAG Astoria Verlag: Brandenburgische
Strasse 22, Berlin, Germany.
BARON M. Baron Co.: P.O. Box 149,
Oyster Bay, New York, 11771.

BONGIOVANNI Edizioni Bongiovanni: Via ~izzoli 28/e,

Bologna, Italy.
300SEY AND HAWKES Boosey and Hawkes, Inc.: P.O. Box 418,
Lynbrook, New York and
30 W. 57th St., New York, N.Y.
CAPURRO A. Capurro: Via Madalena, Genoa, Italy.

COMPOSERS FACSIMILE American Composers Alliance:

EDITION 170 W. 74th St., New York, N.Y., 10023.
DE SANTIS Edizioni De Santis: Rome, Italy.
DOBLINGER Musikhaus Ludwig Doblinger:
10 Dorotheergasse, Vienna I, Austria •
. EDITIONS FRANCAISES Editions Francaises De Musique:
20 Rue Beaujon, Paris 8, France.
FISCHER Carl Fischer: 56 Cooper Square,
New York, N.Y., 10003.
FORB ERG Musikverlag Robert Forberg:
Mirbachstrasse 7, Bad Godesberg, Germany.
GALLE'r E. Gallet: 6 Rue Vivienne,
Paris, France.
HOFFMAN Jana Hoffman: Prague, Czechoslovakia.

HOFMEISTER Friedrich Hofmeister Musikverlag:

Karlstrass~ 10, Leipziq C 1, GermAny, or
Epsteiner Strasse 43, Frankfort A.M.,
Germany.

HUG Hug and Co., Music Publisher:

P.O. Box 22, Zurich, Switzerland.

'INTERNATIONAL International Music Co.: 509 Fifth

Avenue, New York, N.Y., 10017.

JOUBERT Joubert Editions: 44 Rue da Colissie,

Paris 8, France.

KAHNT C.F. Kahnt (Arnold Schering):

Hoffstatt 8, Lindau am Bodensee,
itv'est Germany.
., ~..

KORLINGS FORLAG Korlings Forlag: Box 91, Stockholm,

Sweden.

LAFLEUR J.R. LaFleur and Son, Ltd.: 295 Regent

St., London W 1, England.

LEDUC Alphonse Leduc: 175 Rue Saint-Honore,

Paris, France.

LEEDS Leeds Music Corporation: 322 w. 48th St.,

New York, N.Y., 10036.

MCGINNIS McGinnis and Marx: 201 W. 86th St.,

Apt. 706, New York, N.Y., 10024.

ivtAURER Editione Maurer: 7 Rue de Verseau,

Brussels, Belgium.
MERSEBERGER Verlag Merseberger:
Allemannenstrasse 20, Ber1in-Nikolassee,
Germany. (U.S. Agent: Peters)

1"1UTUAL MUSIC Mutual Music Society Inc. (Agent:

Chappell and Co., Inc., 609 Fifth Ave.,
New York, N.Y., 10017)

NEUBERT Address unknown.

NIBLOCK James Niblock: Dept. of Music,

Michigan State University,
East Lansing, Michigan.
 14S

OERTEL L. Oertel: 3006 GrossburgwrnPl,

Hanover, Germany.

OHMAN Verlag w. Ohman: Address unknown.

PANTON Panton Nakladatelstvi: Besr,dni 3,
Prague 1, Mala Strana, Czech· ,; lovakia.

PARCHMAN Gen Parchman: 23 Parchman Place,

Cincinnati, Ohio.

PETERS C.F. Peters Corp.: 373 Park Avenue,

New York, N.Y., 10017.

PIZZI Umberto Pizzi: Bologna, Italy.

PRO MUSICA Edition Pro Musica: Alexanderstrasse

53, Berlin C 2, Germany.
Karl Liebnecht Strasse 12,
Leipzig, Germany.

PROTO Frank Proto: 7014 Beechmont Avenue,

Cincinnati, Ohio, 45230.

PYRAMINX Pyraminx Publications: 358 Aldrich Rd.,

Fairport, New York, 14450.

RARA Musica Rara: 2 Great Marlborough St.,

London W 1, England.

RICORDI G. Ricordi: Franco Columbo,

16 w. 6lst St., New York, N.Y., 10023.

SCHIRMER G. Schirmer Inc.: 609 Fifth Avenue,

New York, N.Y., 10017.

SCHMIDT C.F. Schmidt: Cacilienstrasse 62 (14a)

Heilbronn/Neckar, Germany.

SCHNEIDER Hans Schneider: Munich, Germany.

SCHOT'r B. Schott's Sohne: Weihergarten 5,

Mainz, Germany. (U.S. Agent: Associated
Music Publishers)

SIFONIA Firmino Sifonia: Via Carlo Mirabello 25,

Rome, Italy.

WHITNEY-BLAKE Whitney-Blake Music Publishers:

243 W. 72nd St., New York, N.Y., 10023.
 14r)

ZAN I BON G. Zanibon: Piazzi Dei Signori 24,

Padua, Italy.

ZERBONI Edizioni Suvini Zerboni:

Galleria Del Corso 4, Milan, Italy.
(U.S. Agent: Associated Music
Publishers)
 147

BIBLIOGRAPHY

Altmann, Wilhelm. Orchester - Lit· rature - Katalog:

Verzeichnis von seit 1850 erschienenen Orchester -
Werken. 2 vo1s. Leipzig: F.E.C. Leuckart,
1926-1936.
. ;\pel , Wi 11 i . Harvard Dictionary 2f Music. Cambridge,
Mass.: Harvard University Press, 1947.

Baker, Theodore. Baker's Biographical Dictionary of

Musicians. 5th ed. revised by Nicolas Slonimsky.
New York: G. Schirmer, 1958.

Baker's Bioqraphical Dictionary of Musicians.

Supplement to the 5th ed. New York: G. Schirmer,
1965.

Blum• ·, Friedrich ( ed.). Die Musik in Geschichte und

Geqenwart. 14 vols.~assel und Basel: Barefireiter-
Verlag, 1949-1968.

Bull, Storm. Index 12 Biographies of Contemporary

Composers. New York: The Scarecrow Press, Inc., 1964.

Carse, Adam. The Orchestra from Beethoven to Berlioz.

Cambridge:-England: w. Heffer & Sons,:Ltd., 1948.

Cerveny, Jan. "The Prague Conservatory: One Hundred and

Fifty Years of History of the Contrabass," ~ ~
Sound Post VI (1969), 4-8.

Eitner, Robert. Biographisch-bibliographisches Quellen-

Lexi1con der Musiker und Musikgelehrten der christlichen
Zeitrechnung bis zur Mitte des 19. Jahrhunderts.
10 vols. Leipzig-:--Breitkopf und Hartel, 1900-1904.

Elgar, Raymond. Introduction to the Double Bass. Sussex,

England: Privately printed,-r960.
More About the Double Bass. Sussex, England:
Privately printed,-r963.

Farish, Margaret K. String Music in Print. New York:

R.R. Rowker, 1965.

Supplement 12 String Music in Print. New York:

R.R. Bowker, 1968.
 148

Feather, Leonard. The Encyclopedia of Jazz. New York:

Horizon Press, 1960.

Pet is, Franc;ois J. Biographie universelle des musicians t·t

bibliograPhie genJrale de la musiaue. -8-vols. 2d ed.
Paris, France: Pirmin Didot Freres, l8G6-l870.

Bioqraphie universelle des musicians 0f:..

bibliographie generale de la musiaue. Supplement et
compl~ment. 2 vols. Edited by Arthur Pougin.
Paris, France: Firmin Didot Freres, 1878-1880.
Gardavsky, Cenek (ed.). Contemporary Czech Composers.
Prague: 1965.

Grodner, Murray. Comprehensive Catalogue of Available

Literature for the Double Bass. 2d ed7 Bloomington,
Indiana: LeffiUr Musical Research, 1964.

Comprehensive Catalogue of Literature for the

String'Bass. Bloomington, Indiana: School of Music,
Indiana University, 1958.

Grove, Sir George (ed.). Grove's Dictionary of Music and

Musicians. 9 vols. 5th ed. Edited by Eric Blom-.--
New York: St. Martin's Press, 1954.

Grove's Dictionary of Music ~Musicians.

Supplement to the 5th ed. Edited by Eric Blom.
New York: St. Martin's Press, 1961.

Hoboken, Anthony von. Joseph Haydn Thematisch -

bibliographisches Werkverzeichnis. Vol. I. Mainz,
Germany: B. Schott's Sohne, 1957.

:ade, Otto. Grossherzog1iche Re1; u:.)rungsbib1iothek. 2 vols.

Schwerin, Germany: Sandmeyerschen Hofbuchdrucherei,
1893.

Koussevitzky, Serge. Master of the Double Bass. RCA

Victor Red Seal 99-2000-A. -serge Koussevit~ky,
double bass. Pierre Luboshutz, piano.
Krebs, Stanley D. "Soviet Composers and the Development
of Soviet Music." (unpublished Ph.D. dissertation,
University of Washington, 1963)

Merseburger, Carl. Kurzqefasstes Tonk~nst1erlexikon f8r

Musiker und Freunde der Musik. Revised by Wilherm-
Altmann.-:Regensburg:--G. Bosse, 1936.
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Musigue pour Contrebasse. Paris: Alphonse Leduc, no date.

O'Neal, Neal. "The Double Bass Solos of Domenico

Dragonetti." (unpublished Master of Arts thesis,
University of North Carolina, 1957)
Pena, Joaquin. Diccionario de la musica Labor. 2 vols.
Barcelona, Spain: Labor, 1954.
Riemann, Hugo. Dictionary of Music. Transl. J.s. Shedlock.
London, England: Augener, 1908.
Reis, Claire R. Composers in America. New York: The
MacMillan Co., 1947.

Sartori, Claudio (ed.). Dizionario Ricordi Della Musica

E Dei Musicisti. Milan, Italy: Ricordi, 1959.
Schmidl, Carlo. Dizionario Universale Dei Musicisti.
2 vols. Milan, Italy: Sonzogno, 1926.

Scholes, Percy. The Oxford Companion i£ Music.9th ed.

London, England: Oxford University Press, 1960.
Simmons, David and Townsend, Peter (ed.). Who's Who in
Music. 4th ed. London, England: Burke's Peerage,
1962.
Smith, Moses. Koussevitzky. New York: Allen, Towne, &
Heath, Inc., 1947.
Stanton, David H. ~String (Double) Bass. Evanston,
Illinois: The Instrumentalist, 1965.
The EdirJln A. Fleisher Collection of Music in The Free
Library of Philadelphia. 2 vols. Philadelphia, Pa.:
Innes & Sons, 1945.
rhompson, Oscar (ed.). The International Cyclopedia£[
Music and Musicians-.--9th ed. Edited by Nicolas
Slonimsky. New York: Dodd, Mead, & Co., 1946.
Warnecke, Frederich. Ad Infinitum Der Kontrabass. Hamburg,
Germany: Privately printed, 1909.
Who's Who in America. Vol. 35. Chicago, Illinois:
Marquis- Who's Who Inc., 1968-1969.
Wier, Albert (ed.). The MacMillan Encyclopedia of Music
.2.!!.S! Musicians. New York: The MacMillan Co., 1938.
 1SO

Correspondence

American Composers Alliance, New York. 1 letter to author.

September 13, 1968.

Associated Music Publishers, New York. 6 letters to

author. May 1, 1968, May 10, 1968, May 24, 1968,
October 23, 1968, November 27, 1968, January 16, 1969.

Baron: M. Baron Co., Oyster Bay, N.Y. 1 letter to author.

October, 1967.
Boosl"'' a~:1d Hawkes, Inc., New York. 2 letters to author.
Noveffiber 6, 1968, February 3, 1969.

Bucchi, Valentino, Perugia, Italy. 1 letter to author.

November 22, 1968.
Curtis Institute of Music, Philadelphia, Pa. (Gordon Mapes,
Librarian) 4 letters to author. December 2, 1968,
December 9, 1968, January 16, 1969, March 17, 1969.

Doblinger: Musikhaus Ludwig Doblinger, Vienna, Austria.

2 letters to author. November 6, 1968, December 23,
1968.

Elgar, Raymond, Sussex, England. 1 letter to author.

November 10, 1968.
Espinosa, Guillermo (CLganization of American States),
Washington, D.C. 1 letter to author. February 11,
1969.

Fontaine, Fernand Marcel, Brussels, Belgium. 2 letters

to author. Decembe~ 7, 1968, December 31, 1968.

?ranco Columbo, .!.!:!£..., New York. 1 letter to author.

October 27, 1967.
Green, Barry, Cincinnati, Ohio. 2 letters to author.
December 5, 1968, February 28, 1969.
Karr, Gary, Madison, Wisconsin. 2 letters to author.
May 27, 1968, July 11, 1968.
Klose, Othmar, Vienna, Austria. 1 letter to author.
April 19, 1968.

Leduc: Alphonse Leduc, Paris, France. 1 letter to author.

October 22, 1968.
 151

Malaric, Rudolf, Vienna, Austria. 16 letters to author.

April 12, 1967, April 28, 1967, May 25, 1967,
September 28, 1967, November 10, 1967, December 15,
1967, February 7, 1968, February 27, 1968, March 14,
1968, April 5, 1968, May 1, 1968, May 25, 1968,
July 16, 1968, October 27, 1968, November 20, 1968,
February 21, 1969.

Niblock, James, Lansing, Michigan. 3 letters to author.

June 11, 1968, July 11, 1958, January 23, 1969.

O'Neal, Neal, Valdosta, Georgia. 1 letter to author.

October 7, 1968.

Parchman, Gen, Cincinnati, Ohio. 4 letters to author.

· March-r3, 1968, March 20, 1968, May 15, 1968,
August 8, 1968.

Peters: C.F. Peters Corporation, New York. 1 letter to

author. May 31, 1968.

Posell, Jacques, Cleveland, Ohio. 2 letters to author.

July 16, 1968, July 29, 1968.

?osta, Frantisek, Prague, Czechoslovakia. 1 letter to

author. November 25, 1968.

?roto, Frank, Cincinnati, Ohio. 2 letters to author.

November 13, 1968, November 26, 1968.

Kussell, Armand, Honolulu, Hawaii. 1 letter to author.

September 30, 1968.

Spivac~ce,Dr. Harold, Washington, D.C. 1 letter to author.

November, 1968 •

.:~tanton, David, Sandusky, Ohio. 1 letter to author.

July 5, 1968.

Toland, Litchard, Rochester, N.Y. 1 letter to author.

October 11, 1968.

Tubin, Eduard, Handen, Sweden. 1 letter to author.

November 7, 1968.

Tuthill, Burnet, Memphis, Tennessee. 2 letters to author.

October 18, 1968, October 24, 1968.

Walter, David, New York. 2 letters to author. November l,

1968, November 18, 1968.
 1S?

~anibon: Guglielmo Zanibon, Padua, Italy. 1 letter to

author. October 22, 1968.

2erbov1~: Edizioni Suvini Zerboni, Milan, Italy. 1 letter

tn author. November 28, 1968.

Zimmermann, Frederick, New York. 3 letters to author.

October 2, 1965, October, 1966, January, 1967.