SOME EXTRACTS from THE AUTHENTIC CONCERTO by DOMENICO DRAGONETTI in A major

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Some bars of the AUTHENTIC CONCERTO in A Major by D. DRAGONETTI found on the NET. For Copyright question it's no possible to add all the bars of the CONCERTO.

This operation is only to demonstrate of the theory that I consider. Purpose: simply acquaintance.

If you would like to have it find among MALARIC's WORKS

For information about Dragonetti doublebass "Gasparo da Salò" in Venice Italy visit:

 

www.contrabbassi.it (Sergio SCARAMELLI)

 

http://www.gabrieleragghianti.it/eng/homeng.html

(Gabriele RAGGHIANTI ... probably the first in the world who has played a full recital with Dragonetti's Gasparo da Salò 1590 before to be restored!!)

THE "question" about DRAGONETTI's Concerto in A major

Written by a critic during a CONCERTO of the Dragon in Bath. He calls the authentic Concerto "Concertone".Nanny has no never written a "concertone", at least a "concertino".

So, talking about CONCERTO D 400 by Domenico Dragonetti:

 

"DRAGONETTI's Concertone on the double bass surprised all who were within a proper distance to distinguish his delicate touches ...his rapid execution and his spirited stile upon an instrument calculated only only for ground work of a full band; and in the analogy to Linndley's Violoncello. ... one of the first amongst those astonishing are produced in this ageof musical wonder.

Well, sorry for my no correct English, but I will try to explain that the famous Concerto in A major by Dragonetti, was written by Edoard Nanny and edited from Sankey. It's not only my opinion but also important musicologies have noted something wrong.

First of all FIONA PALMER who has written a wonderful book about Dragonetti in the English period, strangely doesn't talk of a A major concerto like the one we study more. In the page above (dr. Palmer doesn't kill me for copyright!!!), in fact, we can see the A major original Concerto no. 3 (Ed.Malaric, a little bit far from the one that we can find in the British Museum ... much more different).

Well, maestro Ubaldo Fioravanti has recorded the other "fragments" of concerts written by Dragonetti, but the one written by Nanny/Dragonetti is invisible. In the British Museum it seems there's no trace of this Concerto. 

Ok, now we analize another point of you. I have seen the Dragonetti's Gasparo da Salò 1590. Dragonetti wasn't  a "giant", so when he wrote compositions for double bass or in duet with other instruments, he always used the same technique. Let's see the 12 waltz, the other complete musics. We can say: this Dragonetti 's signature. I.e.. It was very difficult that he wrote a lot of harmonic notes (compare the second time in the two concerts ... ) probably because the same had some problem to reach them easily.

At the contrary if we give a look at Nanny's works they are very similar with the one attribuited to Dragonetti. It's "lapalissiano" (like to tell: it's impossible that Dragonetti could write in Nanny's way).

 

So, the motives could be very different. Perhaps Sankey needed a Concerto to put asap on the market. I don't know! Surely, none would have bought a Nanny Concerto in A major. Perhaps under the name of Dragonetti it was much better. A lot of things we have found but others live in a mistery.

Today in International Competition we read"Concerto in A major" by Nanny/Dragonetti !! It's absurd!!

Probably to say: pay attention is not the one by Malaric,but the one by Nanny (first time is very difficult, 2nd not so beautiful, 3rd very difficult and here we know the hand of maestro Domenico Dragonetti, in the original one).

By the way, if we compare Malaric's revision

of the original one with the Stefano Sciascia's

performance ... well ... there are differences.

 

IMHO: simply a question of money!! With the name of Dragonetti the Concerto was very different for the market. By the way pay attention !!

 

 

click on the photo to redirect
click on the photo to redirect

If you look at the other pages surely you will find some interesting about the authentic CONCERTO in A major by Domenico DRAGONETTI.

..............

Dragonetti and Lindley (English period)
Dragonetti and Lindley (English period)
Dragonetti
Dragonetti

VIOLIN FAMILY

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Well, when we talk about the history of The Double Bass it's better to change instrument,

because also today the great historicals prefer to take different point for starting and then

they reach their final considerations that are always at odds with each other.


Why?


Simply! We don' t have a "fixed date" to say: "Ok! Now the Double Bass has borned".


No! There isn't this day, sorry! But it's correct that the double bass was borned when "composers" decided to enlarge the low frequencies. Obviously, every "State" has follow his own way. But after comparison the

different works (a double bass had to be three meters high ...), well at that moment propably something began to change.

BREVE STORIA DEL CONTRABBASSO

Fonte: Paul Brun "A History of the double bass"

In Italiano
Solo primo capitolo
vito.zip
Archivio compresso in formato ZIP 69.6 MB
Click on the photo to buy it !!
Click on the photo to buy it !!

You will find other "news" about the no authentic Concerto in Amaj attributed to Domenico Dragonetti. Give a look around the site!

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NEWS about THE ORIGINAL CONCERT in AMAJ by DRAGONETTI

Where to find it

DRAGONETTI, DOMENICO Concerto Nr. 3 A-Dur; f. Kb. u. Orch.; f. Kb. u. Klav.; Rudolf Malaric, Heinrich Schneikart KRM 11

Here it's: the original Concert in Amaj no3 by Domenico Dragonetti. It's on the market as you can see and the marvellous Doblinger has in his main catalogue also another version one with strings. During this year I have tried to explain you the the no-original Concerto in Amaj was a simple work by Edouard NANNY. I have also told you some little secrets between Nanny and his editor Stuar Sankey. I have suggested you to read the great book by FIONA PALMER about Dragonetti in England. I have told you that the first in absolute in all over the world to record the original one has been Stefano SCIASCIA thanks to a microfilm and adding only two horns and two bassons. Well, I study the original Dragonetti Concerto in LA Magg. every day because it's very difficult, a great challange, and because it's no possible to be considered a good double bass player if you haven't study it (IMHO).There's no comparison with the Nanny's one who can be considered at five levels under the original one in matter of beautyness and difficulty: no match!! But I also hope in my soul that in auditions, recitals, Conservatory studies and International Competion they wouldn't no more write: Concerto in Amaj by Nanny/Dragonetti. It's absurd.Surely IMC is very power or has been so. But now let's stop with it and let's write: "Concerto in Amaj by E. NANNY". Just pay attention to the original one, the one edit by Malaric. Well, it's not the same in comparison with the one recorded from STEFANO SCIASCIA. There are some mistakes in Malaric one, but at the end he has been a very good work. In example don't play every G on the fourth string: Dragonetti has never written a work using a string he didn't have on his Gasparo da Salò. Bowings or strokes: you have to change everything because those written are no absolutely good. I haved add my fingerings and bowings which are more logical for this Concerto. But probably there will be someone who will use better ones. I hope you study the original one because it's beautiful and in the true spirit of our DOMENICO DRAGONETTI.

Vito Liuzzi

If you would like to study or have got this CONCERTO no. 3 by DOMENICO DRAGONETTI

you can contact DOBLINGER VERLAG.


DOBLINGER VERLAG MUSIK has published other very interesting scores or material regarding to Dragonetti. High recommended (HR)!!

FIONA PALMER

One of the most important musicologist about Mr. Domenico Dragonetti -Read also other her works

FIONA PALMER has been a Thomas Martin's student and now and incredible musicologist expecially about DOMENICO DRAGONETTI.

In my umble opinion, a serious double bass player "should" buy her wonderful book about Dragonetti's life in England. Simply great!

It's easy to find it. By the way go here if you have some difficulties: DOMENICO DRAGONETTI.

 

Reading DOMENICO DRAGONETTI's compositions also through out his manuscripts there's no the one written by Stuart Sankey, a not so beautiful concerto attributed to Dragonetti, and today played with great orchestras or piano also in important international competitions. Why?

Probably personal interests (IMC) ... boh!!

Mr. Dragonetti, the italian virtuoso, written a lot of concerts but we have only some fragments or probably (but it's difficult) we can imagine that he preferred to write in that way. So you can obtain the truth listening to Stefano Sciascia's CD and Ubaldo Fioravanti. Then you must read FIONA PALMER's BOOK: everything will be very clear. I stop here and I personally thank Mrs Fiona Palmer for her incredible efforts. Thanks again, professor.

SO PLEASE DON'T ATTRIBUTE
NANNY'S CONCERTO to THE
DRAGONETTI D 400.

THEY ARE TWO DIFFERENT THINGS.

LET BEGIN TO STUDY THE ORIGINAL
ONE by DRAGONETTI and YOU WILL
ENTRY IN AN INCREDIBLE NEW WORLD.

Gary Karr and other big names also

knew that the Nanny one never and

never was written by DOMENICO

DRAGONETTI, the Drago or the Dragon.

 

 

 

 

CONCERTO no. 5 by DOMENICO DRAGONETTI

In the British Museum probably you can find other 8 Concertos by Dragonetti, but they are incomplete or simply fragments. Ubaldo Fioravanti has recorded some of them in his Cd.

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

Ricondando 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.

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

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METAMORFORA

JOEL QUARRINGTON

Garden Scene
Garden Scene

ORAZIO FERRARI

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)
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HR

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

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Dead in Macerata at 55 years old

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CLICK ON THE PHOTO TO BUY

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

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by PAOLO BENELLI for CARISCH

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