CONCERT SEMANTICS OF THE SOLO DOUBLE BASS IN THE WORKS BY DOMENICO DRAGONETTI (ON THE EXAMPLE OF THE СONCERTO PLAY IN D-MOLL)

Abstract

The article analyses one of the examples of the work of the outstanding composer-double bassist D. Dragonetti, who for the first time at a highly artistic level realized the virtuoso solo capabilities of the double bass and thus formed a new idea of the technical potential and expressive capabilities of the instrument. The artist left a numerous legacy in the concert repertoire and enriched it with new playing techniques. He preferred the most typical genres of virtuoso performance, the concert and concert piece. It is indicated that the spectrum of the embodiment of concert semantics in the artist’s work is much wider; it permeates the composer’s work, manifesting itself in the form of the implementation of the categories of dialogicity and concertity, “brilliant” virtuosity with the use of vertical technique of playing the double bass, etc. Concert semantics, expressed through the categories of dialogicity and concertity, realizes the very virtuoso nature of art, associated with the mastery of various types of technique, the use of a high register and other factors, underlies a number of works that require a high level of performing skill, and among them – in Concert Piece No. 6 in D-moll for double bass with orchestra. The specifics of the concert semantics of the solo double bass in the work of D. Dragonetti are revealed through the prism of the analysis of the embodiment of the categories of dialogicity and concertity on the example of Concert Piece No. 6 in D-moll. The specificity of the specified semantics is expressed through the categories of dialogicity and concertity in the interaction between the soloist and the orchestra (ensemble) and procedurally within each part. In the solo double bass this is conveyed by the active transformation of thematic through re-intonation, theatricalisation, a high level of virtuoso self-presentation, etc. The high level of the soloist's performing skill as a sign of the concert nature of his part and other factors related to the performance specificity of the work made it possible to also interpret this concert piece as a one-movement concerto.