TWELVE WALTZES FOR DOUBLE BASS SOLO BY DOMENICO DRAGONETTI: THE PERFORMANCE ASPECT

Abstract

The article examines the performance features of the first double bass solo cycle in the history of European art. It is Twelve Waltzes by Domenico Dragonetti. It created in 1840 in London and published in 2007. This required an approach to the artistʼs work through the prism of solo contrabass performance history, an analysis of the cycle and its individual pieces from compositional, stylistic, technical and other points of view, which form an idea of the performance requirements for the specified works. The cycle as a whole, constant characteristic features of all plays (form formation, metric, tempos) and individual features of each waltz, which are embodied in the original theme and ways of its development, special virtuoso techniques, etc., are analyzed. The conclusions state the high artistic value and significant pedagogical value of Domenico Dragonettiʼs Twelve Waltzes. In view of the technical difficulties, we see the following as special: constant maintenance of fast tempos with metric pulsation in eighth durations, which requires even greater rapidity and lightness of sound; saturation with long and fast passages that require active movement of the left hand over a significant part of the neck; polyphonic thinking – frequent cases of hidden diphthongs; the presence of wide, mostly upward, jumps, the effect of which increases due to the accents; the rhythm is rich in syncopation and reverse dashes. The cycle demonstrates the innovation of D. Dragonettiʼs compositional thinking, the need for a high level of mastery of the instrument and a natural ease of performance. At the same time, each piece is a vivid example of a combination of «brilliant» virtuosity with a refined outlook, which is embodied in one of the most romantic dance genres – the waltz.