A Sinfonia Concertante is neither a concerto nor a symphony but an amalgam of the

two. Usually with two or more soloists and developing from the concerto grosso of the
Baroque era, it saw its heyday in the Classical age culminating in Mozart's magnificent
Sinfonia Concertante for violin, viola and orchestra in E flat makor K.364. The viola
part uses a semitone scordatura to create a more brilliant sound, reminiscent of the
tuning used to vary the tonality of a number of double bass concertos written for
Viennese tuning which favour the key of D major. Other notable examples of the
Sinfonia Concertante are by Mozart (Oboe, Clarinet, Horn, Bassoon), F.J. Haydn
(Violin, Cello, Oboe, Bassoon), Leopold Kozeluch (Mandolin, Trumpet, Double Bass,
Piano), J.C. Bach (Violin, Cello) and Carl Stamitz (Violin, Viola, Cello), and it wasn't
until the 20th-century that the form was taken up again by composers such as Walton,
Prokofiev, Enescu, Martinu and Milhaud. Probably the most popular and performed
Sinfonia Concertante for double bass is by Karl Ditters von Dittersdorf. Scored for two
soloists (viola, double bass) and orchestra it has been recorded many times, published in
a variety of editions, and has rightly taken its place in the standard solo repertoire
offering few challenges for either soloist. Karl Ditters was born in Vienna on 2
November 1739 and studied violin from an early age. In 1751 he was hired as a violinist
in the court orchestra of Prince Joseph of Saxe-Hildburghausen but, when the orchestra
was disbanded a few years later, returned to Vienna and in 1761 he was engaged as a
violinist with the Imperial Theatre Orchestra. In 1765 he became Kappelmeister for
Bishop Adam Patachich of Grosswardein near Pressburg (now Bratislava) and had an
orchestra of 34 musicians at his disposal. In 1773 he was enobled and the name of Karl
Ditters von Dittersdorf is the one by which he is known today. It is generally believed
that Ditterdorf composed his three solo works for Pischelberger, placing their date of
composition around the last years of the 1760s, but this is speculation and there are no
manuscripts or written evidence to confirm or deny it. The only existing manuscript
copy of the Sinfonia Concertante, which has survived thanks to Johann Matthias
Sperger (1750-1812) and his collection of double bass concertos, is a set of parts
produced by an unknown copyist and now held in the Landesbibliothek Mecklenburg-
Vorpommern (Schwerin). Although today we know the work as Sinfonia Concertante
the manuscript describes the piece as 'Sinfonia in D. / a / Contra-Basso e Viola Conc.te'.
Scored for solo double bass, solo viola, 2 oboes, 2 horns and strings it was probably
renamed by an early publisher or editor to distinguish it from the other symphonies and
concertos of Dittersdorf. Placing the double bass before the viola in the title of the work
is interesting, creating a music which certainly favours the double bass over the viola
and the solo parts confirm this idea and aim. In four movements, typical of the early
Classical symphonies, the music is lively, accessible and enjoyable with few challenges
for either soloist. Dittersdorf completed his autobiography just three days before his
death on 24 October 1799, which tells of meeting 'the great Pischelberger' in Vienna in
1765 and engaging him for the Prince-Bishop's orchestra. Friedrich Pischelberger
(1741-1813) was a virtuoso double bassist of the late 18th-century, who probably also
played and possibly commissioned the concertos of Dittersdorf, Pichl and Vanhal
amongst others. He was a member of the orchestra at the Vienna theatre, under the
management of Emanuel Schikaneder, where Mozart's opera The Magic Flute was
premiered in 1791 and Mozart's concert aria 'Per Questa bella mano' was composed for
Pischelberger and the bass singer, Franz Gerl. David Sinclair, in his excellent
programme notes for his CD 'Wiener Kontrabasskonzerte' (ARS Produktion ARS 30
020) writes: "...It is often taken from granted that Pichl's concertos (like Dittersdorf's)
were written in the years 1765-1769, the period during which Pichl, Dittersdorf and the
bass virtuoso Friedrich Pischelberger played together at Grosswardein. Josef Focht, in
his comprehensive book "Der Wiener Kontrabass", points out that although Dittersdorf
often praised the 'brave Pischelberger', he makes no mention in his 'autobiography' of
concertos written for him..." The double bass part was probably written for Viennese
tuning (A,F#,D,A), which favoured the key of D major, and was used by all the
Classical composers writing for the solo double bass at this time, although today is
playable in our modern tuning in 4ths in the original key (orchestral tuning) or in the
key of C major (down a tone) for solo tuning. It remains in bass clef throughout,
without taxing the virtuosic skills of the double bassist and, if written for Pischelberger,
it certainly didn't exploit his solo technique as the concertos of Hoffmeister and Vanhal
did. The repeated triplet patterns, around the note A (top line in bass clef, or an octave
higher), suggest a tuning with A as the top string and, with a lowest note of A (bottom
space in bass clef)but descending no lower than this note - all point to Viennese tuning.
Dittersdorf's Sinfonia Concertante is more a pastoral symphony with two prominent
solo parts rather than a concerto and the soloists often comment on the orchestral
material rather than sharing the themes, but working very much as a partnership. The
first movement (Allegro) is lively and rhythmic with a strong emphasis on tonic and
dominant chords and effective arpeggio figures before the soloists enter with new
material, played in sixths followed by a question and answer section in arpeggios. The
orchestral interjections are full of rhythmic energy linking the solo phrases, never
straying far from the home key and ending much as it began. The second movement
(Andantino) is scored for the two soloists but with the violins playing exactly the same
as the viola, but an octave higher, with a more interesting and elaborate double bass part
which alternates between the role of soloist and accompanist. In A major and in binary
form, the movement is beautifully lyrical and melodic creating a strong contrast
between the opening Allegro and the following Minuet and Trio. The Minuet is rustic in
feel, with a simple call and answer theme initially followed by an eight-bar duet for the
soloists, and a modulation to the dominant key for the Trio, also for viola and double
bass, with effective melodic interest primarily given to the bassist. The finale (Allegro
ma non troppo) returns to the home key of D major with strong tonic and dominant
chords between the soloist's interjections and an impression of lively energy and
triumph. There are no great hidden messages or meanings here, just good music which
is honest and true. The movement on the whole is given over to the two soloists with
tutti passages to point and direct the music. Good use is made of unison rhythmic
figures, or the occasional question and answer music to add a little extra, and this
movement brings the piece to a strong and happy conclusion. Dittersdorf's Sinfonia
Concertante doesn't tax the technical skills of either player and nor the intellect or
imagination of an audience, and yet this is still a great piece which is full of energy and
high spirits. Not in the same league as Mozart or Haydn, the work is still a great
favourite with bassists, whether played in solo, orchestral or Viennese tuning. It has
been in print for almost 80 years and I am sure in another 80 years it will still be in print
and still loved by bassists and audiences alike. David Heyes [10 May 2015]