MISCELLANEOUS part 3

Discover the playlist vito1212 with Ezio Bosso

What about these photos related to ISAIA BILLE's ORIGINAL METHOD ???

The question is: is it the original one??



February 13/2009 (by Vito Liuzzi)

 

These are the words of Isaia Billè's grandson, prof. Vittorio Emanuele Esposito, who, in his opinion, believes that the manuscript of 1915 might be original.

 

"Maestro Vito Liuzzi, ho confrontato il testo di mio nonno Isaia
Billè, da lei pubblicato sul sito, con una raccolta di poesie
manoscritte in mio possesso e datate 1919. Non sono un grafologo e non
posso escludere l'ipotesi di un falsario (ipotesi che mi sembra però
poco probabile). Mio nonno firmava proprio così. Naturalmente il testo
scritto, premesso alla prima parte del Metodo, è in bella scrittura,
essendo probabilmente la versione preparata per le stampe. Ma, anche il
libretto che ho io reca un frontespizio ("Raul di Bellosguardo- Poesie e
sonetti a Carla") e titoli scritti con impegno calligrafico ( con l'uso
del pennino che marca alcuni contorni delle lettere iniziali e traccia
il resto della lettera in modo sottile e netto, con le medesime
rotondità ed estensioni del segno grafico ecc.). Ci sono delle
maiuscole iniziali che sono inconfondibilmente le stesse ( la 'C', la
'P'). Il confronto di altre lettere in corso di parola (la 'g', la 'l',
la 'n', la 'r', la 's', la 't' ecc.) ,che presentano una perfetta
corrispondenza, rafforza la convinzione che si tratti della stessa mano.
Cosicché mi sembra di poter dire che il testo della prefazione e le
annotazioni scritte appartengono a mio nonno. Purtroppo non posseggo
scritture musicali di suo pugno e su questo non posso fare confronti e
pronunciarmi. Ma molti documenti furono da lui donati alla Biblioteca di
Fermo, insieme ad un suo contrabbasso. La prego di tenermi al corrente e
di pensare, compatibilmente ai suoi impegni, almeno alla registrazione
di qualche composizione di Isaia Billè. Sarebbe per me un grande dono.
Io ho trascorso l'infanzia e l'adolescenza vicino a mio nonno, che
abitava a Roma. Lo sentivo suonare, ammirato, anche se, non avendo
studiato musica, per me, il suo, era un mondo da cui mi sentivo escluso.
E' stato fino a 83 anni Primo contrabbasso al teatro dell'Opera di Roma.
Poi cadde, si ruppe il braccio e si trasferì a Fermo.
Cordialmente, Vittorio Emanuele Esposito"

Now it would be interesting to know:

1) If this manuscripted Method by Isaia Billè is the original one, why did it decide to write it?


2)And then! If it was ready to be published ...

might be there other copies of it? Or is it the only one?


3)How is it possible that this Method has arrived to the States?


4) This method is different from the one published later from Ricordi? Why?

 

5) The other strange thing is that until now the great experts in Billè's life in Italy seem not to konw nothing about this method by 1915. No letters or other similar things.

We know tha Billè probably sold some of his instruments in America ... and how this method has arrived here?

 

Is it a mistery?? Perhaps the owner of this method should tell us how he received it!!

This aspect would help the research.

 

Imho, I have a lot of doubts, but I hope researchers tell us as soon as possible what they really think !!



Prof. Esposito thinks that is not the work of a forger, but in my opinion we must study better every aspect.

In example: the picture representing the "tromba marina" is not the same we find in another book written by Isaia Billè!

IMHO and at the moment, only a serious study about the calligraphy by Billè might be tell us if the method above dated 1915 can be the one wrote by the same Isaia Billè.


By the way, it would be interesting to know why the owner has decided to talk about it only now, and how he obtained it.


These aspects will help the research.

What maestro Michele CELLARO thinks about this "mistery"

Ciao Vito,

capire da poche foto se un testo sia autentico o no è davvero impresa difficile.
La mia prima impressione, a guardare la copertina ben tenuta e senza segni dei tempi, è stata subito  di un falso però... la calligrafia ben curata, la cura meticolosa nel redigere l'indice e specialmente le piccole differenze nella prefazione che leggo molto vicine al personaggio, perfezionista, uomo di cultura,  poeta amante del proprio lavoro e del suo strumento mi hanno convinto dell'autenticità del testo. Chiaramente meglio di queste deduzioni "a vista" possono fare  degli accertamenti chimici sulla carta e sulla sua datazione. 
Febraury, 17 2009

English:

Sorry but in a few words.

Maestro Cellaro thinks:

the cover is practically new, so I could think to a fake.
But reading the content of the manuscript  I find the figure of genuine Billè, cultured man, a lover of poetry and so on.

Why not a chemical analysis of the manuscript ???

I say to my magister:  and if it was a false of the ancient time ???

AN IMPORTANT THING or not???

LET'S READ THE COVER (very new!!!)

 

BILLE


METODO

PER

CONTRABASSO

 

Well. Let's give a look at the word BILLE.

 

There's a strange thing. Rectius! There's something that goes wrong.


It's not: B I L L ( E' ) as in a correct italian


but it's written: B I L L ( E ), WITHOUT THE ACCENT on the letter E !!!

 

What does it mean?? I don' t know but it's a very and very BIG MISTAKE.

Let's go on ...

another thing !!

It's very strange.

In Italy it seems none knows about the

existence of this Method manuscript by Billè

1915.

 

But it's incredible another thing.

We know that in that era there were professional writers (copisti) which were able to

"copy" a manuscript with the same calligraphy (but much more beautifil) of the author.

Well, if Billè wrote himself by his own hands in a very beautiful calligraphy the method 1915, surely he would not have had the time to write other copies. So the Method 1915

should be the only one!

But we don't understand why the manuscripted method 1915 has a good cover with "modern words" (read: "characters") and an incredible MISTAKE. The E of Billè WITHOUT THE ACCENT ON THE "E".

I don't know.

 

Why has the owner decided to present it nowadays??

 

Where did he found this method?

 

or ... who gave it to him?

 

Let's go on in the research! ... until someone doesn't tell me that there a written font in which someone called about this very "young method".

 

Probably "Casa Ricordi" might be the only one to know something interesting.

Thanks to maestro ALFREDO TREBBI

Billè's method is situated in Fermo (Italy). A descendant had left a box full of manuscripts, including the original Method. 

Maestro Trebbi's opinion (who is one of the more experts in Billè's life) seems to think that the Method 1915 above shouldn't be the original one.

But it is also true that Billè went on tour 
with Toscanini just  in the States, and probably there may be a second copy,
or is it a copy of a manuscript that he
signed.
The fund Billè (foundation) comprend all manuscripts inherited and it has
been cataloged about 5 years ago at the Conservatory of Fermo,

at the Library, and

It is available for free consultation.

FINAL OBSERVATIONS

IMHO, I don't think it's the authentic manuscript Method by Isaia Billè. But surely I'm in mistake because here in Italy none seems to know something about it.

Personally, I wait for some answers from the States or somewhere else.

If it's the original one, I would like someone makes chemical researchs on the date of the single pages.

I stop here. STANDBYE!

ISAIA BILLE' BOOK

GLI STRUMENTI ad ARCO ed I LORO CULTORI - by ISAIA BILLE'
Thanks a lot to the person who has scanned it.
Grazie infinite.
LIBRO DI BILLE'.rar
Archivio dati compresso 11.2 MB

GUIDO GALLIGNANI

GUIDO GALLIGNANI.
A great italian artist, composer, teacher and soloist. A little forgotten by critics, expecially Italians, he wrote methods and compositions very appreciated at that time (but imho also today!) He has performed all over the world.

Give a look at these very interesting photos about him. He provides us a lot of informations also for what regarding the bow technique and the left hand position (expecially in thumb position).

Thanks to maestro Alfredo TREBBI

 

These are no good photos. I know it!

But Guido Gallignani was really an incredible talent. If you like, give a look to the 5th photo.

I personally like a lot is bow technique (it's surely the "Italian" technique with the thumb in the high part of the "U" frog, borned with Isaia Billè). And then you can clearly see the left hand in thumb position: he pushed the strings with his fingers (in the later period, as you know, the best soloists pull to the left the single strings to obtain the single note, sound or pitch ... who was the first to push the single notes on the fingerboard in the upper positions? ... ). Gallignani composed a lot of music and methods (probably it "studies" the better word ...) for doublebass players. He was an innovative. Probably you might find something in Bongiovanni's Edition.

It's difficult to say why in the same Italy he has been "a little bit forgotten".

GUIDO GALLIGNANI and some of HIS INCREDIBLE STUDIES

KOUSSEVITZKY in E minor

Link to LIBEN Music Publisher: here you find it!

LIBEN
LIBEN

CLICK ON THE IMAGE to LINK TO "LIBEN MUSIC PUBLISHER"

"OBLIGATO" ORCHESTRA & SOLO STRINGS

My personal observations

First of all I would like to tell the reader that none pays me for what I add in this website.

About strings, my favourites are Obligato by Pirastro and Dominant by Thomastick (Orchestra and Solo). With my students will test also Bel Cantos. Because they give me a marvellous feedback.

But let's talk about OBLIGATO SOLO. I think that there aren't so much soloists which use them. Probably because the A string has a gauge a little bigger in comparison with metal strings which provide you a very short

and fast vibrato expecially at the end of fingerboard. With Obligato you can have the same results (experience with my student), but everyone makes his own decision.


In twenty years of researches I can say the Obligato by Pirastro have the same sound of a gut string, but it's more advanced because

the volume sound is much bigger and larger.

Then Obligato has a very good response of the bow, in fact I play Koussevitzky or Bottesini with no problems. Naturally it also 

depends from your instrument and what you have in your mind.


I know! Someones don't like this aspect: the gauge of strings is too large, big (Orchestra).

Also for me at the beginnig was the same, but I like too much their sonorities and I went on. Now, there's no difference!


Pirastro with this set has created an hybrid string. Imho, all strings are hybrid. For what regardin' Jazz Players they have solved the problem of the E/FA# string. Now this string

is very powerful both with bow or pizzicato.

The best sustain among Pirastro's strings.


If you set your strings (Obligatos) in the correct way, there are no absolutely problems with the tuning. Usually after one week they stay in tuning, and there are no great differences in relation to temperature/umidity.


Another important think. During the passages from one string to another there are no abosultely noises. And this is very important for a bow player.


The tension! This is a personal questions. Everyone has got is own way of thinking.

But Obligato seems to have a very good feeling with the left (or right) hand, and I'm impressed from all the strings balancement.

There isn't one that plays better than another. Quality and volume is the same on every string: if it's not, surely it's a problem of the double bass (soul or catena).


To be honest, in my recitals sometimes I use Obligato Solo sometimes Dominat, or in mix set. Obligato seems to have the same volume in comparison with Dominant, but they are two strings very different each from another.


I have take a decision. I want my double bass must have the same harmoniques of the ancient instruments. And Obligato are the best choise for having The Authentic Sound of A Double BASS. Young generations, and not only, like to have very thin strings so to obtain very fast passages and strict vibratos.

The question is that these strings, imho, change the sound of The Authentic Double Bass: less harmoniques (just tested), sound that usually is overhanged by an Orchestra and a lot of noises in the bow changes.

Naturaly it's my personal opinion!


I have decided to set Obligato Solo because they give me the sensation to play the authentic doublebass of the ancient times, but with more volume. The Double Bass and not a "contra cello".


dr. Vito Liuzzi

THOMAS MARTIN says:

"We all must thank you, Dear Vito, for your tireless work for all of us bassists!"  You are doing so much for your colleagues and your art.

prof.dr. Vito Domenico Liuzzi "Doctor of Law" -"Magna cum Laude"

dr. Vito Liuzzi
dr. Vito Liuzzi

TRANSLATOR

"Andante Affettuoso" di ROSANNA CARNEVALE

Ricordando Giuseppe Maria MARANGONI (1866-1945) "Anna e Pietro si lasciano andare in una esecuzione sul filo della memoria di una musica ormai totalmente interiorizzata e si guardano, di tratto in tratto, in una straordinaria muta conversazione d'intenti.

DOMINIK WAGNER

The fist CD of this great talent
The fist CD of this great talent

DIEGO ZECHARIES

"A TRIBUTE TO TEPPO" - Teppo Hauta-aho "THE KING" by Nbbrecords

DAN STYFFE "Octophonia" NEW CD

THIERRY BARBE'

CATALIN ROTARU or "The PAGANINI of the DOUBLE BASS"

MAURICIO ANNUNZIATA & ALL HIS COMPOSITIONS for Doublebass and Orchestra (piano reduction) - FREE DOWNLOAD

Click on the image for the free download
Click on the image for the free download

MARCOS MACHADO & His New Book (VOL.1) for The Left Hand. HR!

SPERGER DUO - "Sonatas for Double Bass and Piano" with PILIP JARO & Xénia Jarovà

GOLDBERG VARIATIONS

PINO ETTORRE

LEON BOSH

BOTTESINI

ALBERTO BOCINI

DAN STYFFE

DAXUN ZHANG

MARCOS MACHADO

METAMORFORA
METAMORFORA

JOEL QUARRINGTON

Garden Scene
Garden Scene

ORAZIO FERRARI

Pino Ettorre plays Gasparo da Salò on Youtube or here !!!

MICHAEL WOLF

MICHAEL WOLF BOOK, if you like click on to Schott Edition
MICHAEL WOLF BOOK, if you like click on to Schott Edition

 

PIERMARIO MURELLI

PIERMARIO MURELLI - "Nuova didattica per contrabbasso " Ed. RICORDI

ALFREDO TREBBI

ALFREDO TREBBI - Novissimo manuale semiserio per contrabbasso (click on the picture above to read more)
ALFREDO TREBBI - Novissimo manuale semiserio per contrabbasso (click on the picture above to read more)

RICCARDO CROTTI

GEIRD REINKE

BOGUSLAW FURTOK

ENRICO FAGONE

IRINA KALINA GOUDEVA

MICHAEL KLINGHOFFER

ALFRED PLANIAVSKY

MAURIZIO TURRIZIANI

THE BASS GANG

Thomas Martin & Timothy Cobb

SILVIA MATTEI

HR
HR

THE BASS SONORITY

THE BASS SONORITY: Vito Liuzzi, Michele Cellaro, Vincenzo Chiapperini, Leonardo Presicci, Giuseppe Lillo, Giovanni Rinaldi
THE BASS SONORITY: Vito Liuzzi, Michele Cellaro, Vincenzo Chiapperini, Leonardo Presicci, Giuseppe Lillo, Giovanni Rinaldi

DONOVAN STOKES

STEFANO SCODANIBBIO

Dead in Macerata at 55 years old

CATALIN ROTARU

FEDERICO BAGNASCO

CLICK ON THE PHOTO TO BUY
CLICK ON THE PHOTO TO BUY

ALFREDO TREBBI

Lo Zen e l' arte di imparare uno strumento
High Recommended

THOMAS MARTIN & his "Requiem" by Bottesini

PAOLO BENELLI

Dragonetti: Solos for double bass

by PAOLO BENELLI for CARISCH
by PAOLO BENELLI for CARISCH

FEDERICO BAGNASCO

Cd

MICHELE VERONESE

CATALIN ROTARU

Cd/DVD

PAOLO BENELLI

World Premiere!

FRANCESCO FRAIOLI

DAN STYFFE

"Portraits for friends" by BERNARD SALLES

BASSIONE AMOROSA

IRINA-KALINA GOUDEVA

"Recomenzar El Infinito"

Mr. PETRU IUGA "invention" !!!

Vito Liuzzi !!

Rino Liuzzi in STUDIOS

free counters