{"id":1881,"date":"2014-03-17T08:00:50","date_gmt":"2014-03-17T07:00:50","guid":{"rendered":"http:\/\/www.henle.de\/blog\/en\/?p=1881"},"modified":"2015-05-29T13:41:14","modified_gmt":"2015-05-29T11:41:14","slug":"the-lord-of-the-low-tones-%e2%80%93-tobias-glockler-in-conversation-about-dragonetti%e2%80%99s-%e2%80%9cfamous-solo%e2%80%9d","status":"publish","type":"post","link":"https:\/\/blog.henle.de\/en\/2014\/03\/17\/the-lord-of-the-low-tones-%e2%80%93-tobias-glockler-in-conversation-about-dragonetti%e2%80%99s-%e2%80%9cfamous-solo%e2%80%9d\/","title":{"rendered":"The lord of the low tones \u2013 Tobias Gl\u00f6ckler in conversation about Dragonetti\u2019s \u201cFamous Solo\u201d"},"content":{"rendered":"
\"Tobias<\/a>

Tobias Gl\u00f6ckler<\/p><\/div>\n

The double bass entered the Henle publishers\u2019 catalogue a few years ago by way of the Dresden double bassist Tobias Gl\u00f6ck\u00adler<\/a>. Entirely classically, to begin with, through the concertos by Hoffmeister<\/a> and Dittersdorf<\/a>, but soon also joined by some\u00adwhat exotic titles such as the Twelve Waltzes<\/em> by Dragonetti<\/a> for Double Bass or the famous Elephant<\/em> from Saint-Sa\u00ebns\u2019 Car\u00adni\u00adval of the Animals<\/em><\/a>. \u201cThe Famous Solo\u201d by Domenico Dra\u00adgo\u00adnet\u00adti, most recently published in the version for doub\u00adle bass and string quartet, now even presents a first edition of a doub\u00adle bass work in our publishing-house programme. Here you can read how it came about…<\/p>\n

Annette Oppermann (AO)<\/strong>: Mr Gl\u00f6ckler, how did we actually come by \u201cThe Famous Solo\u201d?<\/span><\/p>\n

\"Domenico<\/a>

Domenico Dragonetti (1763\u20131846), Source: Wikimedia.org, Licence: PD<\/p><\/div>\n

Tobias Gl\u00f6ckler (TG):<\/strong> After the successful e\u00addi\u00adti\u00adon of the Dragonetti waltzes for double bass solo (HN 847<\/a>), Dr Gertsch, the Henle Verlag\u2019s head of publishing, asked whether I wouldn\u2019t also like to e\u00addit a work of Dragonetti\u2019s for double bass and pi\u00ada\u00adno. A short time later, whilst on holiday in England, I detoured to the British Library\u2019s manuscript rea\u00adding room in London for a day and viewed there Dra\u00ad\u00adgo\u00ad\u00adnet\u00ad\u00adti\u2019s extensive estate holdings. In the course of this, \u201cThe Famous Solo\u201d very quickly crys\u00adtal\u00adlised as mu\u00adsi\u00adcal\u00adly worthwhile. What came to light as a prob\u00adlem during work on the publication was then \u2013 pa\u00adra\u00addo\u00adxi\u00adcal\u00adly enough \u2013 the really o\u00adver\u00adwhel\u00adming source situation: The work seems to have been Dra\u00adgo\u00adnet\u00adti\u2019s absolute \u201cshowpiece\u201d; it has sur\u00advived in 13 (!) different sources for miscellaneous settings and in various work stages. Now, the de\u00adcid\u00ading question to be cleared up first of all had to be the \u201cdefinitive version\u201d. What became apparent in the process was the fact that this is most likely to be an autograph version for double bass and string quartet. Although I had not at all sought this in London, I soon found this setting very appealing. Dragonetti quite sophisticatedly utilised the ac\u00adcom\u00adpany\u00ading quartet in \u201cThe Famous Solo\u201d, from accompanying in places the double bass ve\u00adry economically with only two violins in the 1st<\/sup> movement,…<\/p>\n

\"\"<\/a><\/p>\n

…right up to achieving nearly an orchestral effect in several sections of the rondo, as can be heard in our live recording on YouTube:<\/p>\n