In the world of the double bass, Bottesini is a well known name, but not so much outside of that world, despite his many operas, chamber works, and solo pieces.

Giovanno Bottesini (Dec. 22, 1821 - July 7, 1889) was born in Crema, Italy, and began his early musical education with his father, an accomplished clarinetist and composer. Later on in his life, Bottesini wanted to enter the Milan Conservatory on violin, but lacked the funds. The school only had two scholarships available, for bassoon and double bass. Within a matter of weeks, Bottesini prepared a successful audition on the double bass, and four years later began touring as a soloist, known as "The Paganini of the double bass".

Bottesini was also an accomplished composer, having written thirteen operas, many chamber works, and of course, pieces for the double bass. His Concerto no. 1 for Double Bass is often overlooked in favor of his other concerto for bass, despite it being a challenging, melodic, and exciting work.

The concerto is in three movements, marked Allegro, Andante, and Allegro con fuoco. Bottesini was and is known for writing very showy and virtuosic works for the bass, but this concerto is more than just that. The piece starts out with a lengthy and dramatic orchestral introduction, and after a few minutes, the double bass finally comes in, with an almost understated response. After that the bass goes on a veritable journey of all sorts; the entire range of the bass is explored, from its lowest string to high harmonics at the end of its fingerboard. Throughout the work there are various modulations as well, almost making it seem like F# minor isn't really the key signature at times, which makes for exciting listening. The Andante showcases the lyrical qualities the double bass is capable of, as it sings over pizzicatos in the orchestra, and is even operatic in its lines. The Allego con fuoco begins with a regal fanfare, and the double bass comes in shortly after, immediately acrobatic, climbing from the lower registers to the highest. The virtuosity doesn't exist for its own sake though; Bottesini makes definitive musical statements, even within the flashiest of lines. One can easily the marvel the technical feats a double bassist must make to play this work, but also the musical integrity inherent in their part!

Here are some recordings of this virtuosic work:

Thomas Martin
Ovidiu Badila
Gergely Jardanyi