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Stephen Street

Bottesini: Fantasia I Puritani Duetto Per Violoncello e Contrabasso (Urtext Edition) [Solo Tuning]

Bottesini: Fantasia I Puritani Duetto Per Violoncello e Contrabasso (Urtext Edition) [Solo Tuning]

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Background

Bottesini’s arrival on English soil in 1849 saw him reunited with Piatti, a musical partnership that was to delight London audiences for years to come, for instance in chamber concerts for the Musical Union, Chappell’s ‘Popular Concerts’ and as principal players with the Royal Italian Opera, Covent Garden. Together they composed the new work presented in this edition, ‘Fantasia sopra motivi dell’opera I puritani’ for cello and double bass with orchestral accompaniment, perhaps based on the above-mentioned ‘Gran Duet’ by Arditi and Bottesini but certainly unrelated to Piatti’s opus 9.

Its first known performance was at a concert promoted by violinist Heinrich Wilhelm Ernst at the Hanover Square Rooms on the 2nd June 1851.

This version is in solo tuning only

About the Composition

After an orchestral (or piano) introduction, taken from the orchestral opening of the opera, and a short duo cadenza [bar 53], Piatti and Bottesini together present the Act 1 tenor aria 'A te, o cara' [bar 56] in which Arturo sings of his love for Elvira.

A short orchestral (or piano) interlude [bar 81] - the music here taken from the Act 1 chorus 'A festa' in which the villagers and soldiers celebrate the news of Elvira's forthcoming wedding - then leads into Piatti and Bottesini sharing a rendition of the Act 3 duet "Nel mirarti un solo istante" [bar 94] in which Elvira and an apologetic Arturo are reunited.

Following solo variations on this number by each player, 'A festa' is presented once more [bar 154], this time shared between our soloists, from which they segue into the Act 1 baritone aria 'Bel sogno beato' [bar 194] in which Riccardo despairs in his unrequited love for Elvira. Another cadenza [bar 250] and extended coda of the composers' own invention brings the duo concertante to a virtuoso conclusion.

Press Quote

“A duetto for violoncello and contra basso, by the two lion performers, Piatti and Bottesini, created a furore. It was as though - to depart from our lion metaphor - a rhinoceros contended with an elephant, and neither could obtain the mastery. Such an instrumental trial of strength was perhaps never before witnessed.

Had Paganini come to life and fiddle in hand encountered Ernst, the struggle for priority could scarcely have excited more interest or created more applause. Each artist was on his metal and surpassed himself. Italian art was never made more manifest, or rendered more triumphant than on this occasion. To describe the performance is impossible; to describe the effect on the audience is equally impossible. Not dealing in impossibilities, we shall attempt neither, but consign both to the imagination of our readers." -Musical World

What You'll Receive in the Piano Reduction Version

Digital copies of the double bass and cello parts, piano reduction, manuscript, and a list of edits are attributed to Bottesini's autographed score housed at Stanford University.

What You'll Receive in the Orchestral Version

Digital copies of the full instrumentation double bass and cello parts, and the rest of the parts.

This edition contains a complete authentic edition of this piece, including all the cut material from the original manuscript as an optional performance extra.

This edition referenced six different sources, bringing all the information together into one edition. This edition has been made in collaboration with two of the world's leading researchers into Piatti and Bottesini, Adrian Bradbury and Chris West. Within the edition is an Urtext and Critical edition with both the authentic period orchestration and a critical edition for modern-day orchestral instruments. This piece is only for bass in solo tuning.

Print Versions

Are available at www.bottesiniurtext.com

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