2 Yvonne Wingard Scheid, The Evolution of the Double Bass in the Orchestra. Palmer, Domenico Dragonetti in England: 1794 – 1846 (Oxford: Clarendon, 1997) 84. Palmer wrote of 19th century English audiences, “ had no reason to consider the double bass as anything more than a cumbersome source of the lowest notes in an orchestra.”1 In The Evolution of the Double Bass in the Orchestra, Yvonne Wingard Scheid refers to the double bass as “a buffoonish, lumbering instrument assigned only to simple bass lines…”2 and also as the “bulky ‘bull-fiddle’ of the symphony orchestra.”3 In the second paragraph of Theįiona M.
Wesleyan student Matt Sellier ’11 confirmed his attendance to my recital with the note that he couldn’t wait to “hear a senior recital as out of tune as his.” Fiona M. It evidences itself in any introductory discourse of the instrument in a musical society. No struggle presents itself in the endeavor to establish the condition of a double bass that fights to earn its legitimacy. It seeks to establish the double bass’ condition of a battle for legitimacy to explore the factors that contribute to this poor perception, in the nature of the history and its dynamic development and to explore the agents of change therein. As soon as the drums stop, everyone runs for their lives “oh no! It’s the bass solo!” The basis for this humor-the poor status and perception of the double bass-is at the very core of this work. As a bassist, I’ve heard the classic countless times-it was recounted to me at dinner just the other night. Introduction Musical instrument jokes are always disparaging, seldom funny to a player of the instrument, but work because of the grain of truth in all of them. 32Ģ0th Century: Koussevitzky, Karr, Turetzky. 29ġ9th Century Italian Influence: Dragonetti and Bottesini. Virtuosi in the Heyday of the Austrian Violone. 11 Survey of the 17th-19th Century Double Bass I.
4 Domenico Dragonetti: A Brief Biography. Thank you to all of my friends, housemates, bandmates, standmates-my every relationship informs my being and I cherish you all. Also, for sharing my enthusiasm for and transporting an instrument that was bigger than I was, for years! Thank you to my sister, Grace. Thank you to my parents, Madeline and John, for your unconditional love and for your endless support of my every endeavor. Thank you Angel for your invaluable support and guidance in this process. Thank you Roy, for sharing your mastery and for your really unbelievable dedication and generosity. Clair, Anthony Braxton, and especially Angel Gil-Ordoñez, and Roy Wiseman for their endless attention, guidance, and support. Thank you to all of my teachers, and, more specifically, to all of my incredible music educators: Nancy Weiss, Lisa Dunaj, Diane Fish, Stephen Uh, Lisa Polito, David Soto, Michael Kerschner, David Lobenstein, Yonatan Malin, Jay Hoggard, Abraham Adzenyah, Jane Alden, Marco Beghelli, Mark Slobin, Sumarsam, Neely Bruce, Dan St.
Russo Class of 2011Ī thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Music Middletown, ConnecticutĪcknowledgments Thank you to anyone, peer or professional, who has ever taught me anything about music. Virtuosi of the European Art Music Tradition and Their Influence on the Development of the Double Bass by Louis S.
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