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ROSSINI

Duetto
per Violoncello e Contrabbasso

Herausgegeben von / A cura di


Edited by
Philip Cossett

Urtext

Bàrenreiter Kassel ' Basel ' London ' New York ' Praha
BA 10544
CONTENTS / INDICE / INHALT
Preface ilr
Prefazione V
Vorl,u'ort ........ VII
Critical Commentary. l3

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PREFACE
Gioachino Rossini wrote the Duetto per Violoncello e Con- later, worked with the Conservatoire de Musique in
trabbasso during the trip to London he undertook in Paris to set up a double bass class, he invited Drago-
1824, together with his first wife, Isabella Colbran.l As netti to come to Paris and offered him the new pro-
in the case of his visits to other European centers, he fessorship. Although Dragonetti did not accept the ap-
was in the habit of establishing close contacts with the pointment, he did consult with Rossini about technical
local elite from those nobles near to the King and his aspects of the instrument.5
retinue to those who r.l'ere at the pinnacle of the finan- The first performance of the Duetto probably took
cial world. The efficient composer established friendly place in a salon in the English capital, most likely in
relationships with many bankers, among them the Span- the home of the Salomonses. Since Dragonetti often
iard Aguado, the Rothschild family, as well as the Salo- performed on the violoncello as well as on the double
mons family in London, whose leading representative, bass, it seems likely that the double bass part was taken
Sir David, later became the first |ewish Lord Mayor of by Philip Joseph Salomons, while Dragonetti plaved
the city. For one of Sir David's cousins, Philip Joseph, the cello.
from whom he received a sizable honorarium, Ros- The original manuscript of the piece (A), which Ros-
sini prepared this Duetto per Violoncello e Contrabbnsso.2 sini had given to Philip Joseph, passed after the latter's
Philip Joseph Salomons, who in his youth was a bril- death into the possession of Sir David Salomons, who
liant figure in London's high society, was also a gifted had married the widow of his cousin. It remained with
amateur double bass player, whose teacher was Do- the family until 1968, when it was sold at auction by
menico Dragonetti, the most highly regarded double Sotheby's, after which it was acquired by the Swiss col-
bass virtuoso of the era.3 lector, Rudolf Grumbacher. Following the latter's death
Born and trained in Venice, Dragonetti made his home in 2oo4, Grumbacher's entire collection - including the
in London, where he was a member of the orchestra of Duetto - became the property of the Paul Sacher Stif-
the King's Theatre. Along with Giovanni Bottesini he tung in Basel, where it is preserved today. Along with
played a decisive role in the emancipation of the low- Rossini's autograph the Grumbacher collection contains
est member of the string family as a soloistic instru- parts in Dragonetti's hand for the Duetto per Violoncello
ment. He employed a concave shaped bow, which was e Contrabasso (pBA), with several small modifications.
not representative even in the nineteenth century, but In them, Dragonetti clarified several elements in the
which continued to be used in England alone into the articulation and added dynamic levels, obviously in-
twentieth century. He also preferred a double bass that tending to facilitate performance of the music.
consisted of three strings tuned in fourths (A, D, G), The autograph manuscript consists of a volume bound
very different from the usual modern instrument with in half leather. On its cover is written: "Duetto / for Vio-
four strings.a loncello / & Contra Basso / composed by i ROSSINI /
During the visit to London of Rossini and Colbran, for / M.'P. J. Salomons'1 on the inside of the cover is an
Rossini worked several times with Dragonetti, not only er libris of Philip Joseph Salomons. The musical manu-
at the King's Theatre, but also in severai concerts di- script consists of five folios, written on both sides of
rected b;z the composer. When Rossini, a few years each page (f. 5v is blank). On the first page of music the

1 For further information, see the article by Martina CrempÌer,


composer wrote a dedication: "Rossini / Al Suo Amico
"Rossinis Dttetto per Violoncello e Contrabltasso", published on the in- Salomons / Londra li zo luglio 1824."
ternet site of the Center for Italian Opera Studies of The Universitv The manuscript is entirely in Rossini's hand, char-
of Chicago (http://humanities.uchicago.edu/orgs/ciao/).
2 A report by the conductor Sir George Smart speaks of fifty acteristically very clearly notated with only a few cor-
pounds. It is cited in Bertram Cox - C. L. E. Cox, Leaxes front the rections. The signs for dynamics and articulation are
lournals of Sir Ceorge Srucrf (New York, Bombay, Calcutta, ryo), 6r. often written in great detail, which demonstrates that
3 On Dragonetti, see Fiona N4. Palmer, Domenico Dragonetti in
Englnnd h794-t846). The Career of a Double Bnss Virtuoso (Oxford, the piece was by no means a hastily notated occasional
997), as well as Rodney Slatford, "Domenico Dragonetti", Proceetl- piece. Rather the composer shows his effort, when work-
irtgs of the Royal Musícal Association 97 $97o-7r), zr-28.
,{ For an historical treatment of performance on the double bass, 5 For the correspondence betlr.een Rossini and Dragonetti, see
see Alfred Planyavsky, Geschichte des Kontrabasses (Tutzing, ry7ol); Cioachino Rossini, Lettere e dot'.unrcnti, ed. Bruno Cagli and Sergkr
Dragonetti's technique is discussed in Palmer, Drngonetti, 61Íf. Ragni, 4 vols. (Pesaro, ry92, 1996, zooo, zoo4), II1:72.-73.

III
ing with a great soloist like Dragonetti, to erplore the The appearance of the music is nrodernized in a num-
virtuosic capabilities of the violoncello ancl double bass. ber of ways:
The Duetto per Violoncello e Corúrnblrns-so is a three- r. Rossini's use of
acciclentals is ad.rpted to moclern
movement work (Allegro - Andante mosso - Allegro), practice. When doubt erists about their interpretation
in which Rossini follows classical sonata form. The piece small accidentals are introduced.
demands two players who share a high degree of tech- z. Rossini's musical abbreviations (with the exception of
nical capability. The indication Dttetto seems justifiable abbreviated eighth notes, which WGR always rvrites
on the grounds of the arrangement of all three move- out) and signs of repetition are realized according
ments: two equal partners are in dialogue, constantly to modern conventions, as are his instructions for
exchanging the roles of melody instrument and ac- one instrumental part to be derived from another.
companiment, with each part supporting in turn the Passages derived from preceding ones (e. g., "Come
virtuoso passages of the other. Sopra" or "Bis") or notated equivocally (e. g., u,hen
Rossini notated the cello part mostly in bass clef but violas are instructed to play 'tol Basso") are indi-
switched several times into tenor clef and occasionally cated in the Commentary.
even into violin clef. In the critical edition of the score, 3. Abbreviations such as "fmo" (fortissimo), 'And.no,"
the original clefs are preserved; for this practical edi- or 'tres." are modernized or expanded without com-
tion, however, passages in violin clef have been reno- ment.
tated in tenor clef.6 a. Minor elements are norrnalized without note: whole
rests are added to blank measures, the slur from grace
note to principal note provided, necessarv fermatas
added vertically to parts that lack them, and other
EDITORIAL POLICY
particulars. Rossini does not have a consistent way
The following typographic conventions are used: of notating triplets. WGR adopts these norms: a)
Dynamic levels (p ff, etc.), expressive indications (sot- when the notes are beamed, '!" is added; b) r,vhen
tovoce, dolce, etc.), tempo indications (Andante), and they are not beamed, "3" with a bracket is added;
other such directions (Solo, a z, divisi, tr) present or ex- c) when Rossini adds slurs to triplets, WGR favors
tended from those present in the autograph are given his model, with "3" inside the slur; d) in an obvious
in roman type. sequence of triplets, "3" is not repeated after the first
Where Rossini notates a dynamic level and sf simul- measure.
taneously, in different parts, the sf is represented by
an accent. On the other hand, certain aspects of Rossini's notation
Significant editorial additions to the score are dif- have not been modernized:
ferentiated typographically and, where appropriate, r. Transposing instruments usually foliow the princi-
discussed in the Commentary: pal source.
r. In italics: dynamics, expressive indications, and other z. Rossini's manner of beaming notes is preserved wher-
such directions (ff, sottoaoce, a z, tr, Andante). ever it can be musically justified.
z. In broken lines: slurg crescendo and diminuendo signs. 3. Rossini's typical closed accents and closed crescendo/
3. ln a smaller font: missing or altered notes (as in a diminuendo signs > are respected.
chord); accidentals when there are alternative pos-
sibilities. Philip Cossett
4. In square brackets: staccatos or accents for which Patricia B. Brauner
there is no precise model in the primary source.

6 See mm. 55-56, 99-ro6, 723-1-2T and r3o in the first movement
and mm. r7-4o in the second movement.

IV
PREFAZTONE
Rossini compose il DtLetto per Violoncello e Contrsbbasso Dragonetti ad andare a Parigi, offrendogli la nuova
durante il viaggio a Londra fatto insieme alla prima cattedra. Dragonetti non accettò l'incarico, ma diede
moglie Isabelia Colbran nel r8z4'. Come in altre sue a Rossini una sua consulenza su aspetti tecnici dello
visite in diversi centri europei, il compositore aveva strumento5.
l'abitudine di stabilire stretti contatti con lélite locale, Non si sa con certezza dove ebbe luogo la prima ese-
dagli aristocratici vicini al sovrano e alla sua corte ai cuzione del Duetto, probabilmente in un salotto della
maggiori esponenti della finanza. Il pratico composi- capitale inglese e plausibilmente a casa dei Salomons,
tore strinse rapporti d'amicizia con molti banchieri, tra ma dal momento che Dragonetti si esibiva spesso anche
i quali 1o spagnolo Aguado, le famiglie Rothschild a al violoncello si potrebbe ipotizzare che Ia parte per
Parigi e Salomons a Londra, il cui maggior esponente, contrabbasso venisse eseguita da Philip ]oseph Salo-
Sir David, più tardi diventò il primo Lord Mayor ebreo mons, mentre Dragonetti suonava il violoncello.
de1la città. Rossini compose í1 Duetto per Violoncello e Il manoscritto originale del Duetto (A), dopo la morte
Contrnbbasso proprio per un cugino di quest'ultimo, di Philip Josepku cui Rossini io avevo donatg passò in
Philip joseph, ricevendone un cospicuo onorario2. Phi- possesso di Sir David Salomons, che aveva sposato la
lip ]oseph Salomons, in gioventù una delie figure piu vedova del cugino. Esso rimase in mano alla famiglia
brillanti dell'alta società londinese, era anche un dotato fino al 1968, quando fu battuto all'asta da Sotheby's
dilettante di contrabbasso. Fu suo maestro Domenico e quindi acquistato dal collezionista svizzero Rudolf
Dragonetti, il più celebre virtuoso di contrabbasso del Crumbacher. Alla morte di Grumbacher, nel zoo4 tutta la
tempo3. sua collezione - tra cui 1l DtLetto - fu acquisita dalla Paul
Nato e formatosi a Venezia, Dragonetti si trasferì a Sacher Stiftung di Basilea, dove il manoscritto è oggi
Londra, dove entrò a far parte dellbrchestra del King's conservato. Nel fondo Grumbacher, insieme all'autogra-
Theatre. Insieme a Giovanni Bottesini Dragonetti giocò fo, sono conservate anche le parti staccate delDuetto per
un ruolo decisivo nell'emancipazione dello strumento Violoncello e Contrabasso (pBA) di mano di Dragonetti,
piu grave della famiglia degli archi come strumento con piccole modifiche. In queste parti, Dragonetti ha
solistico. Egli utllizzava un arco curvo, insolito nel precisato alcune articolazioni e aggiunto i livelli dina-
XIX secolo ma adottato soltanto in Inghilterra fino al mici, con lbvvia intenzione di facilitare l'esecuzione
primo Novecento e preferiva il contrabbaso a tre corde deI pezzo.
accordate per quarte (La, Re, 5ol), molto diverso dallo Lautografo è rilegato inrnezza pelle. Sulla copertina
strumento moderno a quattro cordea. si legge: . Duetto / for Violoncello / & Contra Basso /
Durante il soggiorno londinese Rossini ebbe modo di composed by / ROSSINI I for I M.' P. J. Salomons sul
";
lavorare con Dragonetti diverse volte e non soltanto al retro di copertina è posto I'ex libris di Philip Joseph Sa-
King's Theatre, ma anche in occasione di alcuni con- Ìomons. II manoscritto consta di cinque folii di musica
certi ch'egli stesso diresse. Alcuni anni dopo, quando (f.5v è vuoto) e sulla prima pagina il compositore ha
con il Conservatoire de Musique di Parigi collaborava scritto la dedica: " Rossini / Al Suo Amico Salomons /
all'apertura di un corso di contrabbasso, Rossini invito Londra li zo luglio t824."
Il manoscritto è interamente di mano di Rossini, tipi-
1 Per ulteriori notizie si veda Martina Grempler, " Rossinis Duef lo
camente notato in modo molto chiaro e con pochissime
per Violoncello e Contrabbasso,,, consultabile sul website del Center
for Italian Opera Studies della Universitv of Chicago (http://huma- correzioni. La dinamica e l'articolazione è complessiva-
nities.uchicago.edu/orgs/ciao/). mente molto accurata il che dimostra che non si tratta
2 In un suo resoconto ii direttore d'orchestra Sir Ceorge Smart
parla di cinquanta pounds. Si veda Bertram Cox assolutamente di una composizione d'occasione messa
- C. L. E. Cox,
Leaues from the Journals of Sir George Srnarl (Nen' York, Bombay, Cal- giu frettolosamente. Piuttostq nel lavorare con un gran-
cútta, 1907), 61. de solista come Dragonetti, il compositore dimostra di
3 Su Dragonetti, si vedano Fiona M. Palmer, Dontenico Dragonetti
in Ertgland (t794-t846). The Cnreer of a Double Bnss Virtttoso (Oxford, voler esplorare le possibilità virtuosistiche del violon-
1997) e Rodney Slatford,
"Domenico Dragonetti", Proceedings of the cello e del contrabbasso.
Roynl Mtrsical Associrttion 97 $97o-7r), zr-28.
4 Per una trattazione storlca sull'esecuzione al contrabbasso, si 5 Per la corrispondenza tra Rossini e Dragonetti, si veda Gioa-
veda Aifred Planyavsky, Ceschichte des Kontrabasse-s (Tutzing, r97o); chino Rossini, Lettere e docunrcnti, a cura di Bruno Cagli e Sergio
la tecnica di Dragonetti è discussa in Palmer, Dragonetti, 63ff. Ragni, 4 vo11. (Pesaro, rggz, t996, zooo, zoo4), III 72-7).

V
Il Dttetto per Violoncello e Contrabbasso è in tre movi- IJaspetto della partitura è modernizzato in diversi modi:
menti (Allegro - Andante mosso - Allegro), in cui Ros- r. r-"uso delle alterazioni di Rossini è adattato alla pra-
sini adotta la forma sonata classica. La composizione tica moderna. Quando esistano dei dubbi sulla loro
richiede due esecutori che condividano un alto livello interpretazione vengono inseriti segni di alterazione
tecnico. Lindicazione Duetto nel titolo si giustifica alla in corpo minore.
luce della distribuzione delle due parti in tutte e tre z. Le abbreviazioni (ad eccezione delle crome abbrevia-
i'movimenti: due partners paritari dialogano scam- te, che WGR scrive sempre per esteso) e i segni di
biandosi costantemente i ruoli di strumento melodico ripetizione di Rossini vengono realizzati seguendo
e d'accompagnamento, ciascuno a turno fungendo da le convenzioni moderne, come pure le prescrizioni
sostegno ai passi virtuosistici dell'altro. di ricavare una parte strumentale da un altro passo
Si noti che nell'autografo Rossini scrisse la parte del scritto per esteso. Sezioni derivate da altre preceden-
violoncello per lo pirì in chiave di basso, passando molte ti (ad es. *Come Sopra" e "Bis") o la cui scrittura
volte a quella di tenore e occasionalmente anche a sia equivoca (ad es. quando si prescrive alle viole di
quella di violino. Nell'edizione critica della partitura suonare " col Basso,) sono indicate nel Commento.
sono state mantenute le chiavi originali; nella presente 3. Abbreviazioni come *fmo, (fortissimo), .And.no, e
edizione pratica tuttavia i passi in chiave di violino ( cres. ) sono state modernizzate o sciolte senza ren-
sono stati riscritti in chiave di tenore6. derne conto nelle Note.
4. Sono normalizzati senza ricorrere alle Note: l'aggiun-
(traduttore: Daniela Macchione) ta di pause di intero nelle battute vuote, le legature
tra acciaccatura e nota principale, le corone necessarie
integrate in verticale alle varie parti che ne sono prive
e altri particolari secondari. La notazione delle terzi-
CRITERI REDAZIONALI
ne in Rossini non è costante. WGR adotta le seguenti
Le convenzioni grafiche utilízzate sono le seguenti: norme: a) quando le note sono collegate aggiunge .3,,;
Sono segnate in tondo: dinamica (p, ff, ecc.), indica- b) quando le note non sono collegate aggiunge 3 e
" "
zioni espressive (sottovoce, dolce, ecc.), indicazioni di un segno di collegamento; c) quando Rossini segna
movimento (Andante) e altre simili prescrizioni (Solo, una legatura sulle terzine, WGR adotta di preferen-
a z,divisi, tr) presenti nell'autografo o da queste estese. za il suo modello con <3> all'interno della legatura;
Dove Rossini ha segnato simultaneamente in parti d) nel caso di una successione evidente di terzine,
diverse sf e un livello dinamico, sf è sostituito da un * 3, non viene piu ripetuto dopo la prima battuta.
accento.
Le aggiunte editoriali ritenute essenziali, descritte, Non sono stati modernizzati alcuni aspetti della nota-
quando necessario, nel Commento, vengono differen- zione di Rossini:
ziate tipograficamente: r. La scrittura degli strumenti traspositori segue la fon-
r. In corsivo: dinamica, indicazioni espressive e altre te principale.
simili prescrizioni (ff, sottoaoce, a z, tr, Andante). z. I tratti d'unione usati da Rossini per il collegamento
z. Tratteggiate: legature, forcelle di crescendo o dimi- di più note vengono mantenuti quando hanno una
nuendo. giustificazione musicale.
3. In corpo minore: note mancanti o cambiate (ad es. 3. Cli accenti chiusi e le forcelle di crescendo/dimi-
negli accordi); alterazioni quando vi siano plausibili nuendo chiuse r.- sono rispettati.
alternative. Philip Gossett
4. Tra parentesi quadre: staccati o accenti per i quali Patricia B. Brauner
non esiste un modello nella fonte principale. (traduttore: D sniela Mac chione)

6 Si vedano batt. 55-56,99-to6, 723-1-27 e r3o del primo movi


mento e batt. r7-4o del secondo.

VI
VORWORT
Rossini schrieb das Duetto per Violoncello e Contrabbnsso bassklasse am Pariser Konservatorium beteiligt war,
wàhrend seiner Reise nach Londory die er gemeinsam plante er, Dragonetti als deren Leiter zu berufen (was
mit'seiner ersten Frau Isabella Colbran im Jahr r8z4 nicht zustande kam) und konsultierte ihn in Fragen
unternahm.' Wie bei den Aufenthalten in anderen Zen- der Spieltechnik.s
tren Europas pflegte er dort engen Kontakt zur orts- Die erste Auffúhrung des Duetto dùrfte in einem der
ansàssigen Elite vom Kónigshaus ùber den Adel bis hin Salons der englischen Hauptstadt stattgefunden haben,
zu den Spitzen der Finanzwelt. Der geschàftstùchtige mit einiger Wahrscheinlichkeit im Hause Salomons
Komponist unterhielt freundschaftliche Beziehungen zu und es ist gut móglich, dass dabei Philip joseph Sa-
mehreren Bankiers, darunter der Spanier Aguado, die lomons den Kontrabasspart ùbernahm und Dragonetti
Familie Rothschild sowie in London das Haus Salo- das Cello, das er ebenfalls beherrschte.
mons, dessen fùhrendes Mitglied Sir David spàter der Die von Rossini an Philip Joseph ùbergebene Original-
erste jùdische Bùrgermeister der Stadt werden sollte. handschrift des Stúcks ging nach dessen Tod in den
Fùr einen Cousin dieses Mannes, Philip Joseph, ent- Besitz von Sir David Salomons ùber, der in zweiter Ehe
stand gegen ein gutes Honorar das Duetto per Violon- die Witwe seines Cousins geheiratet hatte. 1968 verlief
cello e Contrabbssso.2 Philip Joseph Salomons, in seiner es den Familienbesitz und stand bei Sotheby's zum Ver-
jugend eine schillernde Cestalt der Londoner High So- kauf, wo es der zoo4 verstorbene Schweizer Sammler
ciety, war ein sehr begabter Amateurkontrabassist und Rudolf Crumbacher erwarb, dessen wertvolle Musik-
sein Lehrer Domenico Dragonetti nicht weniger als der sammlung sich heute in der Paul Sacher Stiftung in
angesehenste Kontrabassvirtuose seiner Zeit.3 Basel befindet. Neben der Partitur Rossinis befinden
Der aus Venedig stammende Wahllondoner Drago- sich in der Sammlung Grumbacher auch die Stimmen
netti, Mitglied des Orchesters des King's Theatre, spielte zum Duetto per Violoncello e Controbbasso, von Drago-
neben Ciovanni Bottesini eine entscheidende Rolle bei netti mit eigener Hand abgeschrieben und mit einigen
der Emanzipation dieses tiefsten der Streichinstrumente kleinen Verànderungen vornehmlich in der Artikula-
als Soloinstrument. Dragonetti nutzte einen konkav ge- tion sowie mit Hinzufùgungen in der Dynamik ver-
formten Bogery der schon im r9. Jahrhundert nicht die sehery die offenkundig zum ZieI haben, das Stùck fùr
Norm darstellte, auf der anderen Seite aber etwa in Eng- den Interpreten noch klarer lesbar zu machen.
land vereinzelt bis ins zo. fahrhundert hinein genutzt Das Autograph umfasst einen Band, dessen Halbleder-
wurde. Damit spielte er vorwiegend einen Kontrabass, einband auf der Vorderseite die Aufschrift ,,Duetto /
der sich von dem heute ùblichen viersaitiges Instru- for Violoncello / & Contra Basso / composed by / ROS-
ment dadurch unterschied, dass es sich um ein drei- SINI i for / M.'P. |. Salomons" und auf der Innenseite
saitiges, in Quarten (A-D-G) gestimmtes Instrument das Ex libris von Philip loseph Salomons tràgt. Der No-
handelte.n tentext verteilt sich auf fùnf Blàtter, die jeweils vorne
Bei Rossinis und Colbrans viel beachteten Londoner und hinten beschrieben sind, mit Ausname des letzten
Auftritten kam es mehrfach zum gemeinsamen Musi- Blatts, dessen Rùckseite leer blieb. Auf der ersten Seite
zíeren mit Dragonetti. AIs der Komponist Jahre spater des Notentextes findet sich in der Hand des Komponis-
an dèn tberlegungen zur Einrichtung einer Kontra- ten die Widmung ,,Rossini / Al Suo Amico Salomons /
1 Ausfiihrlichere Informationen bietet der Aufsatz von Martina
Londra lí zo luglio 1824."
Grempler, Rossinis Duetto per Violoncello e Contrabbasso, veròffentlicht Das Manuskript ist vollstàndig in Rossinis Hand ab-
auf den Internetseiten des Center for Italian Opera Studies von der gefasst, in der fùr ihn charakteristischen klaren Noten-
University of Chicago (http://humanities.uchicago.edu/orgs/ciao/).
2 Ein Bericht des Dirigenten Sir Ceorge Smart spricht von 5o Pfund schrift mit nur wenigen Korrekturen. Die teilweise mi-
Sterling. Zitlert in: Bertram Cox, C. L. E. Cox, Lenues from the lour- nutiós notierten Anweisungen zu Dynamik und Arti-
nals of Sir George Smart, New York/Bombay/Calcutta t9o7, 5.6t. kulation zeigen, dass es sich keineswegs nur um ein
3 Zu Dragonetti v. a. Fiona M. Palmer, Domenico Drngonettí in Eng-
f lùchtig hingeworfenes Auftragswerk handelt. Vielmehr
Iand (t794-t846). The Career of n Double Bass Vírtuoso, Oxford 1997
sowie Rodney SÌatford, Domenico Dragonetti, in: Proceedings of the scheint der Komponist die Zusammenarbeit mit einem
Royal Mttsical Associntíon 97, 7g7o-i-977, S. zr-28.
4 Zur historischen Spielweise des Kontrabasses siehe Alfred 5 Dazu der Briefrvechsel zr,r'ischen Rossini und Dragonetti: Gio-
Planyavsky, Ceschichte des Kontrabnsses, Tutzing r97o; insbesondere achino Rossini, Lettere e doctLnrcnti, hg. von Bruno Cagli und Sergio
zum Spiel Dragonettis: Palmer, Drngonetti, S.63ff . Ragni, 4 Bde., Pesaro rg9z, t996, zooo, 2oo1, III S.7z-73.

VII
hochklassigen Solisten wie Dragonetti zum Anlass ge- Das Erscheinungsbild der Partitur wird auf folgende
nommen zu haben, die virtuosen Móglichkeiten von Weise modernisiert:
Violoncello und Kontrabass auszutesten und zu nutzen. r. Rossinis Gebrauch der Vorzeichen wird an die mo-
Bei dem Duetto per Violoncello e Contrnbbasso handelt derne Praxis angepasst. Falls Zweifel zu deren Inter-
es sich um ein dreisatziges Werk (Allegro - Andante pretation existieren, werden die Vorzeichen in klei-
mosso - Allegro), in dem Rossini auf die klassische So- nerer Schrift eingefùgt.
natenform zurùckgriff. Das Stùck fordert zwei Spieler, z. Musikalische Abkùrzungen (mit Ausnahme der abge-
denen es ein hohes MaB an spieltechnischen Fàhigkei- kùrzten Achtel, die WGR stets ausschreibt) und Wie-
ten abverlangt. Die Bezeichnung Duetto erscheint auf- derholungszeichen Rossinis werden nach modernen
grund der Anlage aller drei Sàtze nur zu gerechtfertigt: Konventionen realisiert, ebenso seine Zeichen, dass
zwei gleichwertige Partner treten in einen Dialog, ver- eine Instrumentalstimme einer anderen entspricht.
tauschen immer wieder die Rollen von Melodieinstru- Abschnitte, die vorausgegangenen entsprechen (2. B.
ment und Begleitung, der eine unterstùtzt jeweils die ,,Come sopra" und ,,Bis"), oder deren Schreibweise
virtuosen Passagen des anderen. missverstàndlich ist (2. B. wenn fiir die Bratschen vor-
Die Cellostimme notierte Rossini grundsàtzlich im geschrieben wird, ,,col Basso" zu spielen), werden im
Bassschlùssel, wechselte aber mehrfach sowohl in den Kritischen Bericht angezeigt.
Tenor-, als auch (seltener) in den Violinschlùssel. In der 3. Abkùrzungen wie ,,fmo" (fortissimo), ,,And.no" und
kritischen Ausgabe der Partitur wurde die originale ,,cres." werden ohne Kommentar modernisiert oder
Handhabung der Schlússel unveràndert beibehalten, fùr aufgelóst.
die vorliegende praktische Ausgabe hingegen die Pas- 4. Die Anpassung kleinerer Elemente erfolgt ohne Kom-
sagen im Violinschlússel in den Tenorschlùssel gesetzt.6 mentar im Kritischen Bericht: ganze Pausen in leeren
Takten werden hinzugefiigt, Bindebogen zwischen
(Ubersetzung: Mqrtina Grempler) Vorschlag und Hauptnote eingesetzt, notwendige Fer-
maten werden in den Stimmen ausgeschrieben, wo
sie fehlen, und andere Details. Rossinis Notation der
Triolen ist nicht einheitlich. WGR wàhlt folgende Nor-
ZUR EDITION
men: a) sind die Noten verbunden, so wird ;" hin-
Folgende graphische Konventionen werden verwendet: zugefugt; b) sind die Noten nicht verbunden, so wird
In gerader Schrift erscheinen: im Autograph oder aus ,3" hinzugefùgt sowie eine Klammer; c) schreibt Ros-
diesem ùbernommene Angaben zur Dynamik (p, ff, sini einen Bindebogen ùber die Triolen, ùbernimmt
usw.), zum Ausdruck (sottovoce, dolce, usw.), Tempo WGR bevorzugt sein Modell, mit einer,,3" innerhalb
(Andante) sowie sonstige vergleichbare Anweisungen des Bindebogens; d) im Falle einer offensichtlichen
(Solo, a z, divisi, tr). Folge von Triolen wird die ,,3" nadn dem ersten Takt
Wenn Rossini in verschiedenen Stimmen gleichzei- nicht mehr wiederholt.
tig sf und eine Anweisungzur Dynamik schreibt, wird
sf durch einen Akzent ersetzt. Auf der anderen Seite werden einige Besonderheiten
Grundlegende Zusatze der Herausgeber erscheinen der Notation Rossinis nicht modernisiert:
typographisch abgesetzt und werden, falls nótig, im r. Die Schreibweise der transponierenden Instrumente
kritischen Bericht diskutiert: folgt normalerweise der Hauptquelle.
r.'Kursiv erscheinen: Angaben zu Dynamik, Ausdruck z. Rossinis Art, mehrere Noten zu verbinden, wird
und Ahnliches (ff, sottoaoce, a 2, tr, Andante). ùbernommen, wann immer sie musikalisch plausibel
z. Gestrichelt erscheinen: Bindebógen, Crescendo- und erscheint.
Diminuendo-Gabeln. 3. Die fùr Rossini typischen geschlossenen Akzente und
3. In kleinerer Schrift: fehlende oder veranderte Noten Gabeln r.- fùr Crescendi/Diminuendi werden bei-
(2.8. in den Akkorden); Vorzeichen, falls es sich um behalten.
plausible Alternativen handelt. Philip Gossett
4. In eckigen Klammern: Staccatopunkte oder Akzente, Patricia B. Brauner
fùr die in der Hauptquelle kein pràzises Modell exis- (lJb ersetzung: Martina Grempler)
tiert.

6 t. Satz: Takt 55-56; 99-to6; 723-a27; r3o. z. Satz: Takt r7-4o.

VIII
Duetto per Violoncello e Contrabbasso

--.4j,

Íím
li_.'. -

l=
\-

:l
tu
E
:8
' ,, -'71=-- .-=> ;'l
-e
ó5

,h
2

68

íG>:-î> :'= ->, --------- :-a-,->, .'-'---'


4

98

10

il1
IE
IF
tl
tl

IE
\-

il6
IF
l-

[-
I

li
IE

t20
ls

l
t ttL ?i?-î?;î;t:-tì-* .7-> ,--'---'>

- 9_{
rî" {i:i r-- fè n
tr
.r-----\-
pizzicato

\ itrloncello

C.ntrabbasso
10

+o
tI
L2

tr
CRITICAL COMMENTARY
staccato dots. Dragonetti in pBA regularly
Trrll
inserted siurs for the triplets (also at 15), with
-f
hert' is no title in the hand of Rossirri (R). The title used in staccato dots also added for Vc at 15. WGR
WGR comes from the label added to the cover of A; "Dr-r- chooses a staccato articulation for the triplets
etto" also appears in pBA. at 23, foliowing R's clear models at 15.
25 The 'îolce" is derived from R's explicit mark-
ing at the parallel 99.

Cnrrrcer Norss
25 32,33-40,99-106,107-114 A The articulation of
this theme is relatively stable, although
These notes art'divided into two sections. In the first.rrt. frequently there are lacunae. All signs inte-
cliscussed problems arising in the editing of the Drrello from grated into the readings of A are differenti-
A; secondary sources are cited when they prove useful in ated typographically in WGR.
resolving these problems. In the second are discussecl is- 47 @ / V., there is no articulation; WGR extends the
sues not alreadv discussed in the first section pertainirrg models from earlier in the measure and from 43.
to performance options found in pBA. No effort is macle to 11- 16,63-65, 118-120,137-139 A @ / r" yc at 44-46
covcr the contents of pBA exhaustivt'lr-. and 118-120 and in Cb at 63-65 and 137-139,
R notated the identical figuration differentlv
in thc. exposition and in the recapitulation.
Furthermore, the only slur in the exposition
Eorrrxc Norns is in Cb at 65, where it covers only the last
Allegro tr,\'o notes; slurs over all four sixteenth notes
2-3, 6-7,92-93,96-97 Sources At2-3 and 6-7, R wrote are found everywhere in the recapitulation.
a slur over the ascending sixteenth notes tn WGR follows R's notational differentiation
both parts, as well as a staccato dot together between the passages, but interprets the slr-rr
with the accent on the first eighth note in Vc at 65 as incorporating the eighth note as n.ell
at 3 alone (there are no explicit staccato dots as the two sixteenths.
in Cb). In the recapitulation, at 92-93 and 47-48, 66-67, 121-122, 1,40-141 A The beaming and
96-97, he drew the slur to the eighth note and slurs in these measures for Vc at 47-48
generally omitted the staccato dots on the and 121-122 and Cb at 66-67 and 140-141 are
eighth note (the situation is uncertain in Cb not coherent. At 47-48, 66, and 140i@-@ the
at 97). Irr fact, at 96-97 he seems to have writ- beaming is by the beat, at 67, 121-122, 740
ten a shorter slur at 96 alone, then extended @-@, and 141 by the half measure. Slurs
it to the follor,ving downbeat. In both parts of are by the half measure at 47-48, 121, and
pBA, Dragonetti restricted the slur to the srx- I22le-@, and bv the beat at 66-67 and l-ltr
teenth notes (the slur is lacking in Cb at 96). At 122l@-@ in Vc, there are three slurs over
WGR accepts the difference between the ex- the eight sixteenth notes, covering notes 1-3,
position and the recapitulation, as in A. The 5-6, and 7-8. These dif{erences are hard tcr
parts are inconsistent about the use of stac- justify, even in terms of a shift between the
cato dots on the first eighth note; WGR omits exposition and recapitulation. WGR regr_rlar-
the dot, of which there is only one clear izes the notation with beaming and slurs bl
model in A, in Vc at 3. the half measure.
12 A Cb: the slur covers only @-@ and there 50 @-@ / Vc: a single slur covers @ and the first
are staccato dots on both quarter notes at @ three notes of @; WCn continues to slur the
and @; WGR extends the model clearly part by the beat, as in the previous measurr..
established in the previous measures (slur at 5I-52,70-77,125-126,144-145 A C, @/ The stacc.rrr,
e-@, staccato dot only at @). In pBA Dra- dots on the separately-flagged eighth notes rrr
gonetti originally copied A, then emended Vc at 51-52 and 125-126 and Cb at 70-71 .rn.l
it as in WGR. 744-745 are derived from two models: Cb at
13-r4 A Vc: the tie, written at the 13114 bar line, is qurre 70l@ and 1441@. Many of these staccato dtrts
clear; although absent in pBA, it has been are added by Dragonetti in pBA.
adopted by WGR. 57-58,76-77, 73I-732,150-151 A The long staccatLrs i:-
23 A R wrote neither staccato dots nor a slur for Cb at 57-58 and 131*132 and in Vc at 76-il
the triplet in Vg but for that in Cb he origi- and 150-151 are derived from five example:
nally wrote a slur, then replaced it with three in Vc at 76.

l-ì
74-75, I4B-I49 A Cb: "Flautate" is written across Allegro
74-75 (begínning at 741@ and concluding 28 A Vc: the third through sixth notes are practr-
after the 74175 bar line) and at 149, betrveen cally illegible because of an ink blot that
the two notes; since the difference in place- reflects a correction. Nonetheless, the reading
ment makes no sense and 148-149 is Ltigher is reasonably clear, since the music repeats 4
than 74-75 WGR moves both signs to the and 12.
beginning of the phrase. 63-70, 71-78 A Vc: it seems clear that R intended to
I04 A O / CU' there seems to be an augmenting dot slur these entire phrases, but he did not write
after the first note, but in the context it makes continuous slurs. The actual fragments occur
no sense; WGR eliminates it. at 63-65, 67-69,74-75, and76-77. Nonethe-
1'42 A Vc : -; WGR modifies the part, adding a g on less, WGR uses fuli slurs in each passage,
the downbeat, as in all other appearances of without typographical distinction, as did Dra-
this motive. Dragonetti did not intervene in gonetti at 63-70 in pBA.
pBA. 112 A @ / V.' there seems to be a staccato dot over
144-145 A Cb: R wrote regular diminuendos at 144 and the eighth note, but it is probably just an ink
entered no signs at 145; WGR adopts his spot. There are no similar models anywhere
markings at the similar 70-71, making the in the final Allegro.
diminuendos at 144 closed and suggesting a 119-126 ,4 These measures are the "Bís" of 111-118.
crescendo at 145.

Andante mosso PsnronueNcs Issuns (rnov rBA)


I A The tempo marking is unclear: pBA reads Allegro
'Andante moiio", as do modern editions, Not 5 Vc: Dragonetti explicitly wrote this p.
oniy is it a strange marking, but - contrary to 8,98 Cb: Dragonetti seems to have added staccato dots
R's normal practice - the "t" is not crossed. on all five notes.
On the other hand 'Andante mosso" requires 10 33 Cb: in both measures Dragonetti added a 'îolce"
an interpretation of the consonants contrary that is not present in A.
to R's normal way of writing a double "s", 76,24 @ / CU, Dragonetti seems to have copied the
with the first "s" longer than the second (see version of A, then modified R's notation in both
his many signatures and his "PiÌr mosso" measures to place this second d an octave higher.
throughout his autograph manuscripts). With 21 Cb: Dragonetti added syncopated accents for the
some hesitatiory then, WGR accepts the musi- second, fourth, sixth, and eighth notes.
cally more convincing 'Andante mosso". 23 Cb: Dragonetti added f at @.
1, 3,9,71, 52,54 A The articulation is sometimes in- 25,29 @-@ / Vc: Dragonetti added slurs in the second
complete, but never did R write anything that half of each measure.
contradicts the complete model, found in Vc 26,27,30 O-@ / Vc: Dragonetti added the slurs suggested
52.
at in WGR. He also added the one for Cb at 35.
4-5, 12-13, 55-56 A @ 7 fne slurs at 4-5 in Vc and 31 @ / V., Dragonetti actuaÌly wrote the staccato dot
12-13 in Cb are derived from R's model in Vc suggested by WGR.
at 55. 46 @ / V., Dragonetti added the diminuendo suggested
9, 11 A Vc: the slurs on @ and @ begln on the sec- by WGR.
ond sixteenth note, probably for lack of space; 51,52 Vc: here and elsewhere, Dragonetti did not adopt
' those on @ include ail four notes, the model R's characteristic closed dimimrendos.
adopted by WGR and extended to 13, where 57 The f is present also in the Cb part.
there are no slurs. 57-58,76-77, 137-132,150-151 Dragonetti tied the whole
17-18 A Vc: the slur starts at17@ and concludes on notes in Vc at 57-58 and in Cb at76-77 and
the second eighth note of 18/@; WGR notates 150-151, but not those of Vc in 131-132.
it over both measures and extends it to the 60, 62 Vc: the accents integrated by WGR are present in
simllar 21.-22. pBA.
55-56 A Cb: afterwritingameasure-longslurat53,R 66,72 Cb: Dragonettididnotwritep at66,butaddedit
had room at 55 to place a slur only over the at the second note of 72.
first four notes, and he did not then write a 76 Cb: Dragonetti introduced f at76 (but wrote ff in Vc).
slur at 56. WGR extends the slur at 55 for the 86 Vc: Dragonetti introduced f at 86/@.
whole measure and adds the slur at 56; this is 90 Vc: there is no fermata. After the measure Drago-
also the reading of pBA. netti wrote a double bar with an indication to
repeat the exposition (1-90) and then the develop-

T4
menthcc.rlìitLrì;rtion (91 168), a sLrggcstion .rcloptecì 2 3 n1.l-(ù./ Vr': Ilr'.rgrrnt,tti rr'r'rrtt' ,l.i(.1ìt\ on tlrt,dol-
in both rnodern etlitions. Tl'rerc is rrrr srrch sign irr lr'!i rlllallir', tìtrtt:, rrl-it,.it tn r\,ìi,'i.1'1'5i';1i rr11i1 .11
A, hon'ever. tr l, Lrui irt' does Jt()t ('()ìlliì.ìLì(' tirlnr t,lst.rr iiurt'.
97,95 Vc: l)ragor"retti added p. 10, 26 Vc: Dragrnetti n'rote f insteatl oi Tì': ff
99-105 Vc: Dragonetti made many of the. s.rme extensjons l0 l.l,5l-52,55-5h \,- Ll,: [)r.,S,'r]Ltil riìtr(),
as does WGR. clrtced slursfor the two sirttenth notes in \', .rt
127-728 Vc: R's cre.scenclo is ìacking. l() ll .rnrl in C[',.rt il 5].rn.l 55 1i,.
131 Vc: Dragonetti n'rote f insteacl oi f f ancl aclcled no Il, 2E llil i t'., I)ragontLti adrlerl tlrt siuls lrri tlrt, 1i.1i1-'
dynamic markinp; in Cb. Thc ff ior Cb is pr'1.sq'111 o1 sirttctrth trotcs,:uggcsir''l L,r ltCl{ i'rr ilt.. lrrsi:
in pLO. of [ì's notation at .1.
145 @ / Cf, the part continues r'r,itlr clirninucndos, 17 CD t t b' tltt'rc ts t:r, \t.tc(.ii,r ilot ir.r titt' ìast t'r$hth
rather than introducirrg a crcsccnclo, r'rtt'r-rclr.d llotr'.
'l
from7l in WGR. 3+ he ff {}cclrrs in Cb. ratlr,'r tlr,trr rn \t.
147*149 Cb: Dragonetti skipped l;17 anr-l imnrccliatelv 35, .19,'1.ì Cb: [)raeorìettt adcjer-i ,rr.e i'rts otr thc strconcl
wrote 148-149; realizing his error hc sign.rlcd an notc; rìctlc arr' pr-r'scnt ut A.
emendation at the end of the movr.ment. 36, t0, 1-1,lfi Cb. L)r'.rgonrlti acldctl rnanv sìrir* L,r't!rt,
150 Vc: Dragonetti added f. bt'.lt tlirottglltrilt iht'stt llìr'.1\itli's (sonte ìn pc'ncil).
166, 167m@ aO, Dragonetti added slurs in Lroth Fle did not add anv in \"'
|r:.J. 38, l6 (-1.. I)r';iìorre tti rr rott' f ,rt ilrL'Ì.r':tì:rrrint r-rf e.rclr ol'
tlìt.sl nl'.t:;rirt,s.
5l ('lr: lor the recurrence ol tli. f,rin, ipal tirenrc irr
Andante mosso (. b, [-tr.rgLrnetti gave the irr..lrLr( irllì ''ciuir-c".
7 O-@ / Vc: Dragonetti added a slur for which 5:l (!l i C-b: berreath thc trr', ' i.r'i ..tilir1,., lf sirllL'ntlr
there is no autograph model. r rolr:s, t)ragonctti adcie.il | \i'( ) .ìc('cn t:; i n 1-rr-.n c i l.
8 The "sottor.oce" of A is present onlv in Vc at E, 5-1 U I Cb: Dlagor-retti .rdtit,rì .riittulrIru]ì. ,t \trL(-.lt(ì
whereas in pBA there is another such mark in Cb dol on thc eighth notr:.lic] ..- 'lLrr lrl ilrt tì\(, sr\-
at 9. ter'nths.
1,2 O-@ / Vc: Dragonetti added the slurs suggcsted 57 O @ i Cb: the siu|s :uggestecl in WGR r,vere
in WGR. .rtldcd br, [)r.rgone.ttr.
12-14 @ / CU, Dragonetti drew a slur over each of these 5S Cb: Dr.rgonctti r,r't'trte f tustL'.rel ,-ii ìì's ff.
triplets; 1n WGR those at 12-13 are sup;gested, btrt 60 6i Lìb: l)ragor-retti acìded .r: r:L rrì.:tion marks as in
the slur at 14 does not seem appropriate. WCR to equaiìrc 6()-(-i \\;tlr -iò 59.
16 Cb: the p is Ìacking, but Dragonetti included it in 8()--ll{) Writing ihcsc mensrrll' in jirll, l)raet)netti intro-
Vc. rl rrcecl sevt'ral v ariarrts:
47 Vc: Dragonetti changed R's ff to f. In \/c at fì() Itr rr rott, pp inst,.'.ìLl oi lì's p; irr \t at
45 @ / Ct , Dragonetii adopted the f suggested bv tI atrtl S5 he nrrric.ì(!;(ì!i,ìtì1r.ìs to tqrralizet il-re
WGR. tieuraturn; in Ch at 57 ht' ,rtlricd .r staccar{o cloi ol
54, 56, 57 Vc: al1 the addded slurs of WGR in these mcas- thc f irsl r.rotc, .t .,ìgl fcr rr ltrcir tirerc is no pru'c-
ures \trere written by Dragonetti in pBA. edent in A; in Vc .rt 8fì ht' ir rLrit' ff insttad oi lì's f;
57 @ / Ct , Dragonetti added a slur for the triplet, in Vc.rrrtl ('b at 10.1 he rlrtrtt. f insk.ad oi R's ff.
although there are no autograph models in this ll8 Vc: Draqonetti notatcd tlrr''irir\ t,)r'tlrc triplt.ts
position. sttggeslt'tl I'r WGR.
65-67 Cb Dragonetti added p on the seconcl note of 65 ll9-lli.Vc, C-b: rvriling tht. repetitìiin ìn l.rrlÌ, Ilr,rronctti
and f at 66l@. irrtroilucctl s()nlc' vrrrv doLrbtIL;I lli'ir.irnic markings
66-67 Yc, Cb: Dragonetti indicated a "Bts" for these trvo jtr ottt'ttr both parts. At il') hr'rvrirlt'p lliighiv r.rrt-
measures; there is no such indication in A. likell u,ith the trichorrl.l, rr ìth f ;t tht' dort'nbe.at
of 113 and p at 123/l1r) íin ('b therr'is a clinrinu-
entlo betr'r'ten tlrese tvlo srr:ns).
Allegro 127 Cb: thorc alc sltirs for r,.rL h scxtlrpLt,t, nonc of
1, B0 Cb: neither staccato dots nor a slur is present at 1, rvhich is presetìt in A; I)r,rqorrttti dicl not add
but they are present at 79a, u'here the repeat be- thcm at l2tJ, r-ror ìn e itlrt'r rrreasurt' ior Vc.
gins a measure earlier than in A (= 1).

l5

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