April 07, 2011 <Back to Index>
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Domenico Carlo Maria Dragonetti (April 7, 1763 – April 16, 1846) was an Italian double bass virtuoso. He stayed for thirty years in his hometown of Venice, Italy, and worked at the Opera Buffa, at the Chapel of San Marco and at the Grand Opera in Vicenza. By that time he had become notable throughout Europe and had turned down several opportunities, including offers from the Tsar of Russia. In 1794, he finally moved to London to play in the orchestra of the King's Theatre, and settled there for the remainder of his life. In fifty years, he became a prominent figure in the musical events of the English capital, performing at the concerts of the Philharmonic Society of London as well as in more private events, where he would meet the most influential persons in the country, like the Prince Consort and the Duke of Leinster. He was acquainted with composers Joseph Haydn and Ludwig van Beethoven, whom he visited on several occasions in Vienna, and to whom he showed the possibilities of the double bass as a solo instrument. His ability on the instrument also demonstrated the relevance of writing scores for the double bass in the orchestra separate from that of the cello, which was the common rule at the time. He is also remembered today for the Dragonetti bow, which he evolved throughout his life. Dragonetti was born in Venice, Italy, of Pietro Dragonetti, a barber and amateur musician, and Caterina Calegari. He began playing the guitar and the double bass by himself on his father's instruments. He was soon noticed by Doretti, a violinist and composer of ball music, who took him along for public performance in Venice. At the age of twelve, he was placed under the tuition of Berini, the best master for the double bass in Venice, who decided after only eleven lessons that he could not teach the boy anything more. At the age of thirteen, Dragonetti was appointed principal player at the Opera Buffa in Venice. At fourteen he was appointed principal double bass player in the Grand Opera Seria at the San Benedetto theatre. When about eighteen, in Treviso, he was invited to join the quartet of Tommasini, and was noticed by Morosini, procurator of San Marco, who indulged him in auditioning for the admission in the Chapel of San Marco. He made a first attempt in 1784, which was lost to Antonio Spinelli. He finally joined the institution on September 13, 1787 as the last of the five double bass players of the Chapel with a yearly income of 25 ducats. He soon became the principal bassist. He later was offered a place by the Tsar of Russia, which was declined and got him a salary raise in the Chapel. He became very famous at the time, started playing solo pieces, which was exceptional at the time for the double bass, and even got elected as one of the directors of a musical festival held for the coming of fourteen sovereign princes to the republic of Venice. One of his concertos was particularly remarked by the queen of Naples. When in Vicenza for an engagement at the Grand Opera there, he acquired his famous Gasparo da Salò double bass from the Benedictine Nuns of the Convent of San Pietro (La Pieta) in Vicenza, which is now housed in the museum of St Mark's Basilica. He was offered another position to the Tsar of Russia, which he declined after the procurators of St Mark increased his salary to an exceptional 50 ducats. They even granted him a leave for a year, with a continuation in his wages, to go to the King's Theatre in London. That leave was extended for three more years afterwards, but finally Dragonetti never returned to Venice for more than a brief period during the French occupation of the city, 1805 - 1814. Dragonetti
had
no
close family, but had many close friends in the musical world in
London. The story that he kept and often traveled with a collection of
life-sized cloth mannequins, bringing them to his concerts and having
them placed in front row seats of theaters, and even introducing one of
these dolls as his wife, is completely unsubstantiated. He was an avid
collector, and did indeed collect dolls, sometimes taking one along on
trips to amuse the children, of whom he was very fond. He never did
learn to speak English, expressing himself in a mixture of Italian,
English, French and the Venetian dialect, but was an astute
businessman, and in fact, helped his surviving family in Venice
financially. He left
Venice on September 16, 1794, partly under the influence of his friend,
Giovanni Battista Cimador, and participated in the first rehearsals at
the King's Theatre, on October 20, 1794, and finally appeared as
orchestra member in the opera Zenobia in Palmira,
by Giovanni
Paisiello, on December 20, 1794. After only a few months, he
became
very famous in London, and his brilliant career was to last till the
end. Later he
became intimate with the Prince Consort and the Duke of Leinster. He
took part between 1816 and 1842, in forty-six concerts held by the Philharmonic
Society
of London. At the Italian Opera orchestra, he met the cellist Robert Lindley, who became
his close friend and with whom he shared the stand during fifty-two
years. They made a specialty at playing Arcangelo
Corelli's sonatas. He died
in his Leicester square lodgings at the age of 83, and was buried on
April 23, 1846 in the vaults of the Roman Catholic chapel of St Mary, Moorfields,
and
was
moved in 1889 to the Roman Catholic cemetery at Wembley. Vincent
Novello and Count Carlo Pepoli (librettist of Vincenzo
Bellini's I
puritani) were among his most famous friends in London. In
1791
- 1792,
Joseph Haydn accepted a lucrative offer from German
impresario Johann
Peter
Salomon to
visit England and conduct new symphonies with large orchestras. The
visit was a huge success and generated some of his best known work.
Another trip was therefore scheduled in 1794 - 1795. On that second
occasion, Haydn met Dragonetti, who became a very good friend, and who
visited him in Vienna in 1799. On that first trip to Vienna, Dragonetti
also met Beethoven in a famous encounter. "Two
new and valuable, though but passing acquaintances were made by
Beethoven this year, however - with Domenico Dragonetti, the greatest
contrabassist known to history, and Johann
Baptist
Cramer, one of the greatest pianists. Dragonetti was not
more remarkable for his astounding execution than for the deep, genuine
musical feeling which elevated and ennobled it. He was now - in the
spring of 1799, so far as the means are at hand of determining the time
- returning to London from a visit to his native city, Venice, and his
route took him to Vienna, where he remained several weeks. Beethoven
and he soon met and they were mutually pleased with each other. Many
years afterwards Dragonetti related the following anecdote to Samuel
Appleby, Esq., of Brighton, England: "Beethoven had been told that his
new friend could execute violoncello music upon his huge instrument and
one morning, when Dragonetti called at his room, he expressed the
desire to hear a sonata. The contrabass was sent for, and the Sonata,
n°2,
of Op.5, was selected. Beethoven played his part, with his
eyes immovably fixed upon his companion, and, in the finale, where the arpeggios occur, was so delighted and
excited that at the close he sprang up and threw his arms around both
player and instrument". The unlucky contrabassists of orchestras had
frequent occasions during the next few years to know that this new
revelation of the powers and possibilities of their instrument to
Beethoven was not forgotten." (Alexander
Wheelock
Thayer, 1967) To this
day, the mastering of the Beethoven double bass symphonic parts are
considered a basic standard for all orchestral double bass players.
Dragonetti came back to Vienna for an extensive stay in 1808 - 1809. On
that second trip he became friends with composer Simon
Sechter, who would become the court organist in 1824, and
professor
of composition at the Vienna
Conservatorium in
1851. He wrote piano accompaniments to some of his concert pieces, and
they maintained a lifelong correspondence. Dragonetti was again in
Vienna in 1813 and got to meet once more Beethoven, who had just written Wellington's
Victory, to celebrate the victory of Wellington over
the
French
armies of King Joseph
Bonaparte at the Battle
of
Vitoria. The premiere of this work, as well as of Beethoven's seventh
symphony was
performed on December 8, 1813, in the University's Festsaal, with
Dragonetti leading the double basses. Dragonetti
was
known
for his formidable strength and stamina. It was particularly
important at a time when the role of the double bass in the orchestra
was to assist the concertmaster in maintaining the cohesion and
establishing the tempo. He had a huge hand, with strong, broad fingers,
which allowed him to play with a taller bridge and strings twice as far
from the fingerboard as the other bassists. The
physical quality is his huge hand: endowed, first of all, with
prodigious strength so that its grip on the strings of the instrument
is the equivalent of the grip of a blacksmith's vice... A hand endowed
with five fingers so long, big and agile, that all five, including the
bent thumb, go up and down the fingerboard each playing a note. (Caffi, 1855) This was
not at all standard in these times, as most players used to play - in
one position - one note with the index finger, and one with the other
three fingers in combination. Dragonetti
was
a
lover of the fine arts, and a collector of musical instruments as
well as many art-related articles, such as original scores and
paintings. When he died, the following instruments were dispatched: a
giant double bass attributed to Gasparo da Salò and stated to
have been used in contemporary performances of Handel's
music,
which is now conserved in the Victoria
and
Albert Museum in
London; a very fine Domenico
Montagnana Basso
di
Camara (from Venice); a Gasparo da Salò double bass dated 1590;
an Amati double bass; a
Maggini double
bass; a Stradivarius violin (once played by
Paganini), now known as the "Dragonetti"; a Gasparo da Salò
violin; two Amati violins; one Lafont violin; a Stradivarius violin
copy; 26 unnamed violins; a Gasparo da Salò viola; an Amati
viola; a Hill viola; 5 unnamed violas; 6 cellos; a large cello; 3
guitars; 2 bassoons; 3 French horns. "There
are various stories of how Dragonetti came into possession of the
famous Gasparo da Salo bass. The fascinating and highly commendable
biography Domenico
Dragonetti In England by
Fiona
M.
Palmer (Clarendon Press Oxford 1997) seems to offer the most plausible
account. Because of Dragonetti's unprecedented virtuosity as
a soloist, attractive offers of work were made from both London and
Moscow. As remuneration for renouncing the offers and remaining as
principal bassist with the orchestra of the Ducal Chapel of St Mark's
in Venice (an orchestra of considerable importance), a decree made in
1791 gave Dragonetti a financial gratuity. Similarly,
it
is reputed that Dragonetti was presented with an instrument made by
Gasparo da Salo (1542 – 1609) by the Benedictine nuns who occupied St
Peter's monastery in Vicenza where Dragonetti lived and
played in the Grand Opera. In the Palmer biography, a footnote refers
to a 1906 account by C.P.A. Berenzi, who suggests that the instrument
may have been made for the monks of St Peter's, Vicenza, by Gasparo da
Salo, and acquired by the procurators of St Mark's to entice Dragonetti
to remain in their employ. When he
left for London in 1795, Dragonetti left many papers and manuscripts,
including a Complete
system of the double bass, or instruction book for that instrument,
containing many elaborate exercises and studies, in the care of a
friend. Unfortunately, they were sold and could not be retrieved by
their author when he returned to Venice after some years. Today, many
of his letters, personal papers, compositions, solos and manuscripts
are to be found in the British
Library. Some were directly bequeathed by Dragonetti, some were
offered by Vincent
Novello, and some were bought at auctions. |