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For double bass and string quartet
Titel nach Uploader: Romanza Patetica- Giovanni Bottesini
Instrumentierung |
Geige, Bratsche, Cello, Kontrabass |
Partitur für |
Quintett |
Art der Partitur |
Partitur |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 1 von 1 |
Arrangeur |
John Feeney |
Verleger |
John Feeney |
Länge |
7'22 |
In creating this transcription of Bottesini’s Romanza Patetica I have drawn from the Yorke Edition by Rodney Slatford and an edition in E minor titled Mélodie edited by Flechsig. The Yorke version bears Bottesini’s own title and is based on his autograph piano score (Parma 47538). I have chosen to use the title and editorial markings (slurs, dynamics etc.) shown in the Yorke edition. That said, however, I feel the phrasing indications printed are only a starting point and if followed to the letter, actually do the piece, which should unfold freely and with an improvisational feel, a disservice. All of Bottesini’s harmonic and melodic content remains intact and unaltered.
I believe this beautiful work by Bottesini takes on a more profound meaning expressed as chamber music in the string quintet setting. It benefits greatly being freed of the harness of the piano’s equal tempered tuning and by the warmth, humanness and interactivity of the other string players.
John Feeney 2015
For double bass and string quartet – violin II part
Titel nach Uploader: Romanza Patetica- Giovanni Bottesini – violin II part
Instrumentierung |
Geige |
Partitur für |
Solo, Quintett |
Art der Partitur |
Stimmen |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 1 von 1 |
Arrangeur |
John Feeney |
Verleger |
John Feeney |
Länge |
7'22 |
violin 2 part with solo bass cue.
For double bass and string quartet – violin I part
Titel nach Uploader: Romanza Patetica- Giovanni Bottesini – violin I part
Instrumentierung |
Geige |
Partitur für |
Solo, Quintett |
Art der Partitur |
Stimmen |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 1 von 1 |
Arrangeur |
John Feeney |
Verleger |
John Feeney |
Länge |
7'22 |
In creating this transcription of Bottesini’s Romanza Patetica I have drawn from the Yorke Edition by Rodney Slatford and an edition in E minor titled Mélodie edited by Flechsig. The Yorke version bears Bottesini’s own title and is based on his autograph piano score (Parma 47538). I have chosen to use the title and editorial markings (slurs, dynamics etc.) shown in the Yorke edition. That said, however, I feel the phrasing indications printed are only a starting point and if followed to the letter, actually do the piece, which should unfold freely and with an improvisational feel, a disservice. All of Bottesini’s harmonic and melodic content remains intact and unaltered.
I believe this beautiful work by Bottesini takes on a more profound meaning expressed as chamber music in the string quintet setting. It benefits greatly being freed of the harness of the piano’s equal tempered tuning and by the warmth, humanness and interactivity of the other string players.
John Feeney 2015
For double bass and string quartet – solo part
Titel nach Uploader: Romanza Patetica- Giovanni Bottesini – solo part
Instrumentierung |
Kontrabass |
Partitur für |
Solo, Quintett |
Art der Partitur |
Solo Stimme |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 1 von 1 |
Arrangeur |
John Feeney |
Verleger |
John Feeney |
Länge |
7'22 |
In creating this transcription of Bottesini’s Romanza Patetica I have drawn from the Yorke Edition by Rodney Slatford and an edition in E minor titled Mélodie edited by Flechsig. The Yorke version bears Bottesini’s own title and is based on his autograph piano score (Parma 47538). I have chosen to use the title and editorial markings (slurs, dynamics etc.) shown in the Yorke edition. That said, however, I feel the phrasing indications printed are only a starting point and if followed to the letter, actually do the piece, which should unfold freely and with an improvisational feel, a disservice. All of Bottesini’s harmonic and melodic content remains intact and unaltered.
I believe this beautiful work by Bottesini takes on a more profound meaning expressed as chamber music in the string quintet setting. It benefits greatly being freed of the harness of the piano’s equal tempered tuning and by the warmth, humanness and interactivity of the other string players.
John Feeney 2015
For double bass and string quartet – viola part
Titel nach Uploader: Romanza Patetica- Giovanni Bottesini – viola part
Instrumentierung |
Bratsche |
Partitur für |
Solo, Quintett |
Art der Partitur |
Stimmen |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 1 von 1 |
Arrangeur |
John Feeney |
Verleger |
John Feeney |
Länge |
7'22 |
In creating this transcription of Bottesini’s Romanza Patetica I have drawn from the Yorke Edition by Rodney Slatford and an edition in E minor titled Mélodie edited by Flechsig. The Yorke version bears Bottesini’s own title and is based on his autograph piano score (Parma 47538). I have chosen to use the title and editorial markings (slurs, dynamics etc.) shown in the Yorke edition. That said, however, I feel the phrasing indications printed are only a starting point and if followed to the letter, actually do the piece, which should unfold freely and with an improvisational feel, a disservice. All of Bottesini’s harmonic and melodic content remains intact and unaltered.
I believe this beautiful work by Bottesini takes on a more profound meaning expressed as chamber music in the string quintet setting. It benefits greatly being freed of the harness of the piano’s equal tempered tuning and by the warmth, humanness and interactivity of the other string players.
John Feeney 2015
For double bass and string quartet – cello part
Titel nach Uploader: Romanza Patetica- Giovanni Bottesini – cello part
Instrumentierung |
Cello |
Partitur für |
Solo, Quintett |
Art der Partitur |
Stimmen |
Tonart |
d-Moll |
Satz, Nr. |
1 bis 1 von 1 |
Arrangeur |
John Feeney |
Verleger |
John Feeney |
Länge |
7'22 |
In creating this transcription of Bottesini’s Romanza Patetica I have drawn from the Yorke Edition by Rodney Slatford and an edition in E minor titled Mélodie edited by Flechsig. The Yorke version bears Bottesini’s own title and is based on his autograph piano score (Parma 47538). I have chosen to use the title and editorial markings (slurs, dynamics etc.) shown in the Yorke edition. That said, however, I feel the phrasing indications printed are only a starting point and if followed to the letter, actually do the piece, which should unfold freely and with an improvisational feel, a disservice. All of Bottesini’s harmonic and melodic content remains intact and unaltered.
I believe this beautiful work by Bottesini takes on a more profound meaning expressed as chamber music in the string quintet setting. It benefits greatly being freed of the harness of the piano’s equal tempered tuning and by the warmth, humanness and interactivity of the other string players.
John Feeney 2015
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