OCTOBASSE & more

dr. Nicola Moneta, click on the image to visit his website
dr. Nicola Moneta, click on the image to visit his website

Probably .... my interview with dr. Nicola Moneta

Jean-Baptiste Vuillaume, uno fra i massimi liutai francesi dell'800, costruì in tutto tre octobasse. Il prototipo, realizzato nel 1849 a Parigi, bruciò nell'incendio di un teatro londinese; il terzo esemplare venne acquistato dallo Zar e si trova ora, ma in rovina, a Vienna. Il secondo, restaurato nel 1975, è custodito a Parigi presso il Museo del Conservatorio.
Utilizzato per la prima volta nel 1850-51 durante una tournée concertistica in Inghilterra nell'orchestra di Luis Jullien, per l'ultima nel 1872 a Monaco in quella di Eusèbe Lucas, l'octobass di Vuillaume conobbe un periodo di relativa notorietà.
Hector Berlioz lo inserì nell'organico orchestrale il 30 aprile 1855, quando diresse il suo Te Deum per l'inaugurazione dell'Esposizione Universale di Parigi. Lo volle anche nella Symphonie Fantastique e nella Messe de Sainte Cécile di Gounod. Scrisse più tardi nel suo Trattato di Strumentazione e Orchestrazione: "Questo strumento ha suoni di potenza e bellezza considerevoli, pieni e forti senza essere aspri".

L'octobass costruito a Milano per Nicola Moneta dal liutaio Pierre Bohr è la copia fedele dello strumento ideato e realizzato da Jean-Baptiste Vuillaume.
Le dimensioni circa doppie rispetto a quelle di un contrabbasso consentono di ottenere dall'inconsueto colosso musicale, alto quasi 4 metri, suoni di un'ottava più grave. Sette barrette collegate ad altrettanti tasti aiutano lo strumentista ad esercitare sulle tre corde la robusta pressione necessaria per trarne le note con l'arco.
Terminato nel settembre 1995, lo strumento attuale presenta alcuni interventi innovativi, in particolare la semplificazione della meccanica, peraltro già auspicata dai commentatori ottocenteschi

Stranamente i musicologi dell'epoca identificarono la nota più bassa prodotta dallo strumento di Vuillaume come il Do a 32,7 hertz. Ciò significa che l'estensione verso la regione sonora grave propria all'octobasse sembrava più ampia solo di una terza rispetto a quella del normale contrabbasso d'orchestra.
Lo strumento era stato ultimato da poco tempo e le corde, in budello nudo, pur se di discreta fattura avevano un diametro eccessivo. Inoltre, ed è una delle variabili più penalizzanti, non era stato affidato a un musicista dedito alla sperimentazione e alla ricerca delle possibili potenzialità. Date queste premesse, ritengo verosimile che l'imperizia dell'occasionale esecutore, unita alla difficoltà fisica di far vibrare corde così spesse, abbiano indotto valutazioni errate fra i critici e l'uditorio, compromettendo il successo del progetto.

click on the image to know more
click on the image to know more

SOME INTERESTING "Long Play" or LPs

Personally I've never been a "collector" of cassettes, long plays or compact disc because at the end I've no time to listen to them how I would like, with attention and more times (because I think that the first listening might lead to mistake). Or because I prefer to spend my money in other things. I don't know. However in the photos above I've thought to let see you some of my first LPs that I love a lot, also because I think (probably in error) that the analogic system of recording is better that digital that sometimes "closes" the sound. But now this is no important!!

ANTONIO DATTIS and HIS OCTOBASSE

... but why Dattis has decided to make the 2nd Octobasse in the world? :-)!

INTERESTING OFF TOPIC

ANTONI TORELLO' (a great double bass player)

Thanks to my friend JOHNNY CASTRO

If you want to know more about this great artist you can go here:

 

http://www.mundoclasico.com/2009/documentos/doc-ver.aspx?id=f0eee73b-ac62-4f35-a6f5-7630bae384c2

MY BRIEF OBSERVATIONS about THOMASTIK " BEL CANTO "

In many years of experience I have had to deal with so many models of strings of various brands. It is not always easy to provide its opinion as a string needs at least a couple of weeks to provide the maximum benefits deel.

I am not a technician in this area but I trust blindly in my ears and feel that gives me the bow. However, in my tests I always need a skilled person to assess even after what happens when the sound vibrates in the 'air.

So along with my history teacher, we have tested the Bel Canto produced by Thomastik. Forums in the world, in which often I participate, they have talked extensively and say in a very positive manner. My intent was to see whether these words correspond to the truth.


I must say just one thing out first.
The Thomastik has created some excellent strings especially in the light jazz (though I use to mix the Dominant set), but there was always some criticism with regard to the sound quality with the 'bow, very powerful but not very responsive to bow, and with a "Scratchin '" fairly clear.


Well, with the Thomastik Bel Canto, I believe, has solved all problems.


I do not want to write so much but the first thing visible is the gauge quite small compared to the other strings (I used the medium).
But the most impressive thing was the immediate responsiveness of the strings under the bow. A sound very sweet, well you say "sweet", as powerful as usual, but the noise of the string is virtually nonexistent. Already the first evidence that quality of the string in his sound has made us think that it was an other brand. Instead they were just the Bel Canto.

The second sustain me in line with normal and can not be compared
with Thomastik Spirocore Weich. Are two strings completely. To conclude.


Thomastik Bel Canto: (avaible also in SOLO SET)

Color sound very sweet and attractive.

Responses to different types of strokes under the bow: very good.

Richness of harmonics: excellent

Ability to travel in open air very good

Vibrato: extremely easy to obtain.

Dynamics: the string vibrates as soon as it is touched, then depends on the instrument.

In Thumb Position: easy to play, maybe the area as they make it better.

 


BALANCEMENT: excellent!
All the strings play
really well from the first to the fourth. If not, probably the double bass has got some problems!!

To conclude: an incredible string so much different from other by Thomastik. Imho, for classic doublebass players which would like to have more sound from their instrument without "noises" !!

By Vito Liuzzi

 

 

 

The Original one

Click on
Click on
No correct! Only for initial study!
albero genealogico contrabbassisti.xls
Tabella Microsoft Excel 72.0 KB
NANNY class of doublebass
NANNY class of doublebass
DRAGONETTI/NANNY in G major
Dragonetti en sol-Piano.pdf
Documento Adobe Acrobat 1.1 MB

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

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