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Petracchi, Franco

Picture: Petracchi, Franco

Pistoia (Italy), 1937. Considered as one of the most prestigious double-bass players and professors of the instrument, Francesco Petracchi studied in Rome, graduating from the Santa Cecilia Conservatoire also in conducting and composition. His concert activities have taken him around the world to the most important concert halls. The composers Mortari, Donatoni, Henze, Rota, Berio, amongst others, have dedicated works to him. He has imparted Master Classe in Stockholm, Copenhaguen, Siena, Madrid, Oslo, Cincinnati, Barcelona, Sermoneta, Roma, Cremona, Helsinki, Tokio, Chicago, Atlanta, Londres, amongst others. He is professor at the Geneva Conservatoire where he imparts classe on virtuosism. He has lately dedicated much time to conducting, concentrating on a classical romantic repertoire which is not very often heard. In this field he has conducted little known works by Stravinsky, Rossini, Salieri and Cherubini at the recording studios of the RAI in Turin as well as at Florence's Maggio Musicale, Opera San Carlo of Naples, Pesaro's Rossini Festival and at Santa Cecilia in Rome. He has been invited to conduct orchestras in Great Britain (London Symphonic Orchestra), Denmark, Sweden, Poland, Switzerland, Bulgaria, Japan. He has carried out important recordings for Phillips, Sony, Dynamic, ASV and NHK. He won the Italia Prize for his participation in 'A double bass in search of love'. He holds in his possession a highly valued Rossi.

Biography

BOTTESINI, Giovanni

Picture: BOTTESINI, Giovanni

Crema, 1821 - Parma, 1889

Biography

  • BOTTESINI | Petracchi < Double bass

    Rêverie for double bass and piano

    CLASS 1859: [O.V.: Italian] [Tras: Spanish ]

    Content

    Styles and periods, Metrical rigor or freedom - 3' 21''
    Character, Recapitulation - 1' 02''
    Metrical rigor or freedom, Interpenetration - 1' 21''
    Articulation, Dynamics - 1' 07''
    Character, Body gestures - 2' 06''
    Position - 5' 20''
    Fingerings, Dynamics - 3' 39''
    Harmonics - 1' 44''
    Portamento, Fingerings - 2' 37''
    Scales - 1' 32''
  • BOTTESINI | Petracchi < Double bass

    Grande Allegro di Concerto alla Mendelssohn for double bass and piano

    CLASS 1862: [O.V.: Italian] [Tras: Spanish ]

    Content

    Themes and motifs, Study methods - 3' 12''
    Tuning, Cadence - 1' 27''
    Character - 1' 31''
    Character, Metrical rigor or freedom - 1' 03''
    Themes and motifs, Character - 1' 23''
    Rigor or freedom in reading, Cadence - 1' 02''
    Character, Dynamics - 1' 27''
    Bow, Rhythm - 1' 09''
    Development, Themes and motifs - 1' 02''
    Analysis, Themes and motifs - 1' 28''
    Bow direction, Metrical rigor or freedom - 1' 24''
    Tempo, Dynamics - 0' 53''
    Manuscripts, Accents - 1' 00''
    Dynamics - 1' 05''
    Dynamics, Metrical rigor or freedom - 1' 19''
    Articulation, Editions - 1' 36''
  • BOTTESINI | Petracchi < Double bass

    Fantasy (La sonnambula by Bellini) for double bass and orchestra or piano (version for double bass and piano)

    CLASS 1864: [O.V.: Italian] [Tras: Spanish ]

    Content

    Fingerings, Bow - 1' 05''
    Character - 1' 20''
    Left hand, Bow distribution - 3' 06''
    Fingerings, Shifts or changes of position - 4' 17''
    Harmonics - 1' 21''
    Frequency - 1' 19''
    Fingerings, String-crossing - 1' 47''
  • BOTTESINI | Petracchi < Double bass

    Rêverie for double bass and piano

    CLASS 1865: [O.V.: Italian] [Tras: Spanish ]

    Content

    Trill, Fingerings - 2' 41''
    Bow direction - 1' 04''
    Attitude of the musician, Articulation - 2' 09''
    Fingerings - 1' 59''
    Ending of the sound - 1' 05''
    Articulation, Character - 2' 56''
    Melody, Bow direction - 1' 24''
    Attitude of the musician, Bow - 1' 26''
    Bow, Articulation - 1' 24''
    Tempo, Fingerings - 1' 43''
    Fingerings - 1' 51''
    Maintaining the sound, Fingerings - 1' 51''
    Articulation, Fingerings - 1' 35''
    Sound quality, Fingerings - 2' 00''
    Pressure, Fingerings - 1' 26''
    Sound quality - 0' 59''
  • BOTTESINI | Petracchi < Double bass

    Rêverie for double bass and piano

    CLASS 1866: [O.V.: Italian] [Tras: Spanish ]

    Content

    Duration, Metrical rigor or freedom - 1' 33''
    Fingerings, Rhythm - 1' 00''
    Articulation, Breathing - 1' 07''
    Fingerings, Dynamics - 1' 11''
    Technique, Shifts or changes of position - 1' 43''
    Scales, Technique - 2' 18''
    Study methods, Technique - 2' 14''
  • BOTTESINI | Petracchi < Double bass

    Capriccio bravura for double bass and piano

    CLASS 1870: [O.V.: Italian-Spanish] [Tras: Spanish ]

    Content

    Expressivity, Character - 4' 11''
    Rigor or freedom in reading - 0' 54''
    Tempo, Description - 1' 26''
    Fingerings, Technique - 3' 02''
    Apoggiatura - 1' 16''
    Bowings - 1' 28''
    Articulation - 1' 38''
    Character, Tempo - 1' 13''
    Fingerings - 1' 16''
    Clarity of execution - 1' 11''
    Phrasing - 1' 14''
    Fingerings - 1' 22''
    Editions, Rigor or freedom in reading - 2' 03''

GENERALITIES, GENERALITIES

Picture: GENERALITIES, GENERALITIES

Biography

  • GENERALITIES | Petracchi < Double bass

    Teachers advices

    CLASS 1858: [O.V.: Italian] [Tras: Spanish ]

    Content

    Study methods - 0' 54''
    Position, Relaxation - 2' 13''
    Position - 3' 46''
    Arm, Position - 2' 24''
    Relaxation, Position - 3' 22''
    Left hand, Position - 0' 59''
    Position - 2' 42''
    Study methods - 1' 20''
    Study methods, Technique - 3' 02''
    Study methods, Scales - 1' 55''
    Study methods, Scales - 5' 48''
    Scales, Study methods - 1' 15''
    Shifts or changes of position , Study methods - 2' 08''
    Shifts or changes of position , Study methods - 1' 26''
    Study methods, Arpeggio - 5' 38''
    Fingerings, Study methods - 2' 45''
    Fingers, Fingerings - 1' 24''
    Sound quality, Scales - 2' 06''
    Position - 1' 32''
  • GENERALITIES | Petracchi < Double bass

    Double bass Technique exercises

    CLASS 1859: [O.V.: Italian] [Tras: Spanish ]

    Content

    Scales, Fingerings - 2' 45''
    Technique, Improvisation - 4' 34''
    Shifts or changes of position , Scales - 3' 53''
    Technique, Scales - 2' 52''
  • GENERALITIES | Petracchi < Double bass

    Double bass Technique exercises

    CLASS 1862: [O.V.: Italian] [Tras: Spanish ]

    Content

    Scales, Left hand - 3' 33''
    Scales, Study methods - 2' 43''
  • GENERALITIES | Petracchi < Double bass

    Teachers advices

    CLASS 1863: [O.V.: Italian] [Tras: Spanish ]

    Content

    Feet, Position - 2' 05''
    Fingers, Fingerings - 2' 09''
    Position, Technique - 1' 50''
  • GENERALITIES | Petracchi < Double bass

    Double bass Technique exercises

    CLASS 1866: [O.V.: Italian] [Tras: Spanish ]

    Content

    Modes and scales, Technique - 1' 50''
  • GENERALITIES | Petracchi < Double bass

    Double bass Technique exercises

    CLASS 1868: [O.V.: Italian] [Tras: Spanish ]

    Content

    Shifts or changes of position , Scales - 1' 10''
    Position, Scales - 2' 17''
    Attitude of the musician, Styles and periods - 2' 38''
  • GENERALITIES | Petracchi < Double bass

    Teachers advices

    CLASS 1869: [O.V.: Italian-Spanish] [Tras: Spanish ]

    Content

    Attitude of the musician, Technique - 1' 22''
  • GENERALITIES | Petracchi < Double bass

    Teachers advices

    CLASS 1870: [O.V.: Italian-Spanish] [Tras: Spanish ]

    Content

    Position - 2' 41''
    Position - 2' 43''
    Position - 1' 34''

GLIER, Reyngol'd Moritsevich

Picture: GLIER, Reyngol'd Moritsevich

Kiev, 1875 - Moscow, 1956

Biography

  • GLIER | Petracchi < Double bass

    Pieces for double bass and piano op 9 (double bass part)

    1. Intermezzo

    CLASS 1866: [O.V.: Italian] [Tras: Spanish ]

    Content

    Shifts or changes of position , Character - 1' 10''

HOFFMEISTER, Franz Anton

Picture: HOFFMEISTER, Franz Anton

Rothenburg, 1754 - Vienna, 1812. Born in Rottenburg am Neckar, he went to Vienna at the age of fourteen to study law. Following his studies, however, he decided on a career in music and by the 1780s he had become one of the city’s most popular composers, with an extensive and varied catalogue of works to his credit. Hoffmeister’s reputation today however rests almost exclusively on his activities as a music publisher. By 1785 he had established one of Vienna’s first music publishing businesses, second only to Artaria & Co which had ventured into the field just five years earlier. Hoffmeister published his own works and those of many important composers of the time, including Haydn, Mozart, Beethoven, Clementi, Albrechtsberger, Dittersdorf, and Vanhal. These famous composers were also among Hoffmeister's personal friends: Mozart dedicated his String Quartet in D (K.499) to him, and Beethoven addressed him in a letter as "most beloved brother". Hoffmeister’s publishing activities reached a peak in 1791, but thereafter seemed to take a back seat to composition. Most of his operas were composed and staged during the early 1790s, and this, combined with an apparent lack of business sense, led to a noticeable decline in production. In 1799 Hoffmeister and the flautist Franz Thurner set off on a concert tour which was to have taken them as far afield as London. They got no further than Leipzig however, where Hoffmeister befriended the organist Ambrosius Kühnel. The two must have decided to set up a music publishing partnership for "within a year" they had founded the Bureau de Musique which would eventually be taken over by the well-respected firm of C.F. Peters, still active today. Among their publications was the first edition of Johann Sebastian Bach's Keyboard Works in 14 volumes, in 1802. Until 1805 Hoffmeister kept both the Viennese firm and the newer Leipzig publishing house going, but in March 1805 he transferred sole ownership of the Bureau de Musique to Kühnel. His interest in the Viennese firm was waning too, for in 1806, apparently to allow time for composition, he sold his 20-year-old business to the Chemische Druckerey. Prominent in Hoffmeister’s extensive oeuvre are works for the flute, not only concertos but also chamber works with the flute in a leading role. Many of these works would have been composed with Vienna’s growing number of amateur musicians in mind for whom the flute was one of the most favoured instruments. Besides flute music Hoffmeister also composed at least eight operas, over 50 symphonies, numerous concertos (at least 25 of these are for the flute, and including an often-played concerto for the viola), a large amount of string chamber music, piano music, and several collections of songs.

Biography

  • HOFFMEISTER | Petracchi < Double bass

    Concerto for double bass and orchestra (double bass and piano reduction)

    I. Allegro moderato

    CLASS 1868: [O.V.: Italian] [Tras: Spanish ]

    Content

    Styles and periods, The work - 2' 09''
    Dynamics, Fingerings - 1' 26''
    Articulation - 1' 07''
    Styles and periods - 1' 07''
    Trill - 0' 56''

KOUSSEVITZKY, Sergey

Picture: KOUSSEVITZKY, Sergey

Vishny-Volotchok, 1874 - Boston, 1951. Russian-born U.S. conductor. A virtuoso double-bass player, he was self-taught as a conductor. With his father-in-law's financial help, he debuted with the Berlin Philharmonic in 1908. In the following years he founded his own orchestra, which toured the Volga by riverboat. After leaving the Soviet Union in 1920, he established the Concerts Koussevitzky series in Paris before becoming permanent conductor of the Boston Symphony Orchestra (1924-49). He gave about 100 premieres there, including commissioned works such as Igor Stravinsky's Symphony of Psalms, and many works by U.S. composers, inspiring his musicians to legendary performances by the force of his personality. The Tanglewood Music Center in Lenox, Mass., was established during his tenure in Boston.

Biography

  • KOUSSEVITZKY | Petracchi < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 1864: [O.V.: Italian] [Tras: Spanish ]

    Content

    Themes and motifs - 5' 46''
    Themes and motifs, Form - 2' 19''
  • KOUSSEVITZKY | Petracchi < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 1867: [O.V.: Italian] [Tras: Spanish ]

    Content

    Analysis, Attitude of the musician - 1' 10''
    Attitude of the musician - 1' 18''
    Form, Themes and motifs - 2' 02''
    Form, Development - 2' 03''
    Rigor or freedom in reading, Editions - 1' 12''
    Form, Character - 0' 55''
    Contrast, Themes and motifs - 1' 53''
    Themes and motifs, Tempo - 1' 07''
    Phrasing - 0' 58''
    Vibrato - 2' 06''
    Expressivity - 1' 18''
    Shifts or changes of position , Fingerings - 0' 55''
    Fingerings, Dynamics - 1' 22''
    Bow distribution - 1' 31''
    Manuscripts, Score types - 2' 42''
  • KOUSSEVITZKY | Petracchi < Double bass

    Chanson triste for double bass and piano op 2

    CLASS 1863: [O.V.: Italian] [Tras: Spanish ]

    Content

    Tempo, Character - 1' 14''
    Metrical rigor or freedom - 1' 43''
    Tempo, Character - 1' 32''
    Vibrato, Fingerings - 1' 04''
    Dynamics - 1' 08''

KREUTZER, Rodolphe

Picture: KREUTZER, Rodolphe

Versalles, 1766 - Geneva, 1831

Biography

  • KREUTZER | Petracchi < Double bass

    42 Studies or caprices for violin solo (version for double bass)

    Estudio núm. 2. Allegro moderato

    CLASS 1866: [O.V.: Italian] [Tras: Spanish ]

    Content

    Study methods - 2' 16''

MISEK, Adolf

Picture: MISEK, Adolf

Modletin, 1875, 1954. null

Biography

  • MISEK | Petracchi < Double bass

    Legende for double bass and piano

    CLASS 1868: [O.V.: Italian] [Tras: Spanish ]

    Content

    Relaxation, Vibrato - 1' 16''
    Duration, Maintaining the sound - 1' 00''
    Fingerings - 2' 48''
    Bow - 1' 42''

ROTA, Nino

Picture: ROTA, Nino

Milan, 1911 - Rome, 1979

Biography

  • ROTA | Petracchi < Double bass

    Divertimento concertante for double bass and orchetra (double bass and piano reduction)

    III. Aria

    CLASS 1861: [O.V.: Italian] [Tras: Spanish ]

    Content

    Description - 1' 08''
    Repetition, Description - 2' 16''
    Fingerings - 1' 00''
    Dynamics, Expressivity - 1' 38''
    The work - 2' 16''
    Harmonics - 1' 41''
  • ROTA | Petracchi < Double bass

    Divertimento concertante for double bass and orchetra (double bass and piano reduction)

    I. Allegro

    CLASS 1869: [O.V.: Italian-Spanish] [Tras: Spanish ]

    Content

    The work, The author - 3' 58''
    Tempo, Indications for the execution - 2' 15''
    Metrics, Clarity of execution - 0' 58''
    Bow direction, Character - 1' 21''
    Tempo, Metrical rigor or freedom - 0' 53''
    Vibrato, Harmonics - 1' 10''
    Scales, Fingerings - 5' 10''
    Technique, Fingerings - 4' 41''
    Rigor or freedom in reading, Editions - 1' 38''
    Up-beat, Character - 1' 23''
    Character, Description - 2' 04''
    Indications for the execution, Character - 2' 46''
    Fingerings, Scales - 3' 32''
    Improvised cadenza - 2' 19''
  • ROTA | Petracchi < Double bass

    Divertimento concertante for double bass and orchetra (double bass and piano reduction)

    IV. Finale

    CLASS 1861: [O.V.: Italian] [Tras: Spanish ]

    Content

    Dynamics, Tempo - 1' 03''
    Attitude of the musician, Body gestures - 1' 25''
    Bow - 1' 25''
    Articulation, Dynamics - 1' 09''

SCHUBERT, Franz

Picture: SCHUBERT, Franz

Vienna, 1797 - Vienna, 1828. Franz Peter Schubert was among the first of the Romantics, and the composer who, more than any other, brought the art song (lied) to artistic maturity. During his short but prolific career, he produced masterpieces in nearly every genre, all characterized by rich harmonies, an expansive treatment of classical forms, and a seemingly endless gift for melody. Schubert began his earliest musical training studying with his father and brothers. Having passed an audition, Schubert enrolled at the Convict school that trained young vocalists to eventually sing at the chapel of The Imperial Court. Schubert began to explore composition and wrote a song that came to the attention of the institution's director, Antonio Salieri, who along with the school's professor of harmony, hailed young Schubert as a genius. In 1813, after Schubert's voice broke, he returned to live with his father, who directed him to follow in his footsteps and become a schoolteacher. Schubert begrudgingly complied and worked miserably in that capacity by day, while composing prolifically by night. He had written more than 100 songs as well as numerous symphonic, operatic, and chamber music scores, before he reached the age of 20. Schubert finally left his teaching position to dedicate himself completely to musical pursuits. During the summer of 1818, the young composer worked as a private music teacher to the aristocratic Esterházy family. When he left that post in the fall, Schubert lived a somewhat bohemian lifestyle, composing and spending time with a group of friends that acted as his personal support system. In 1820, Schubert was commissioned by two opera houses, the Karthnerthor Theatre and Theatre-an-der-Wein, to compose a pair of operas. He wrote Zwillingsbruden, and Zauberharfe, both of which were unenthusiastically received. Schubert failed to secure a contract with a publisher, as none were willing to take a chance on a relatively unknown composer who wrote (harmonically) untraditional music. Schubert, along with the support of his artistic friends, published his own work for a collection of roughly 100 subscribers. These efforts, however, were financially unrewarding, and Schubert struggled to sustain himself. His work garnered little attention and contemporary composers dismissed his music as presumptuous and immature. In 1823, Schubert was elected to the Musikverein of Graz, as an honorary member. Though this brought no financial reward and was an inconsequential appointment, Schubert relished its slight recognition, and to show his gratitude, composed his famous Unfinished Symphony. Five years later, Schubert's music was featured at a concert at Vienna's Musikverein. His work was received quite enthusiastically, and to much critical acclaim. This marked the only time during the composer's life that he enjoyed such success. This seemed to provide Schubert with a renewed sense of optimism, and despite illness, the composer continued to produce at an incredible rate. He began to organize a scheme to increase his artistic popularity, by continuing to evaluate his work and progress as a musician, perhaps even planning to study harmony privately. Schubert's health did not improve, and he soon found himself at death's door. During the composer's last moments, he instructed his brother Ferdinand to ensure that he would be buried alongside Ludwig van Beethoven's grave. Schubert revered the legendary composer, and was grateful to him, as Beethoven had praised his wo

Biography

  • SCHUBERT | Petracchi < Double bass

    Sonata for arpeggione and piano en A minor D 821 'Arpeggionne' (version for double bass and piano)

    I. Allegro moderato

    CLASS 1860: [O.V.: Italian] [Tras: Spanish ]

    Content

    Character, Bowings - 1' 50''
    Tempo, Dynamics - 3' 59''
    Articulation, Sound quality - 1' 45''
    Dynamics, Accents - 1' 31''
    Phrasing, Tempo - 1' 32''
    Up-beat, Bow - 1' 48''
    Fingerings - 1' 06''
    Attitude of the musician - 2' 58''
    Bow distribution, Duration - 2' 34''
    Articulation, Tempo - 3' 54''
    Clarity of execution - 1' 16''
    Tempo, Bow distribution - 2' 09''
    Clarity of execution, Bowings - 0' 59''
    Shifts or changes of position , Fingerings - 1' 30''
    Position, Fingerings - 1' 51''
    Vibrato, Dynamics - 1' 43''
  • SCHUBERT | Petracchi < Double bass

    Sonata for arpeggione and piano en A minor D 821 'Arpeggionne' (version for double bass and piano)

    I. Allegro moderato

    CLASS 1863: [O.V.: Italian] [Tras: Spanish ]

    Content

    Dynamics, Bowings - 1' 30''

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