Im Musikleben des Dezember  und die Jahre beziehungsweise  genannt. Todestags von Bottesini, also , unter der Leitung des Musikhistorikers Luigi Inzaghi erstellten Arbeiten zeichnen sich durch umfangreiche Quellenarbeit aus. Diesen Plan verfolgte er jedoch nicht weiter, als sich binnen kurzer Zeit erwies, dass er als Kontrabassist rasche Fortschritte machte und zu einem der erfolgreichsten Studenten seines Jahrgangs wurde. Trotz dieses umfangreichen Pensums gelang es Bottesini, den am Conservatorio di Milano auf sechs Jahre angelegten Pflichtstudiengang innerhalb von vier Jahren zu absolvieren.
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Listen carefully for the half steps between first and fourth fingers where the shift occurs. The simple shifting exercise in Exercise 1 has proven valuable to build confidence in that shift.
One of my favorite moments in Elegy is the simple but beautiful cadence at mm. By playing the first eighth note E on the G string 4th finger in the upper half of the bow on a down bow, and preparing the second finger horizontally for the upcoming E on the D string, the performer can retain a full up-bow to easily hold the longer E and control the resolution to the C in bar Two of the first challenges facing the performer in this work occur almost immediately in the piece—something that many students find quite intimidating.
With the addition of slurs in the arpeggio, again to be practiced in small groups of the 32nd notes within the arpeggio, eleige critical timing and fluidity of movement of the line can be more easily accomplished. A mirror is often helpful in this regard. And to further enhance the bel canto style, I ask my students to learn the shift with a closed and vibrated upper D, rather than a harmonic.
It may also be advisable to use a thumb F on the last eighth note of the bar for ease on the shift to the C, and to keep playing a closed rather than harmonic G throughout the turn. One should strive for as seamless and vocal a transition as possible from a solid vibrating finger on the C often a second finger to a clearly articulated trill, followed by clear grace notes to resolve to a celestial top G. Again, a simple shifting exercise, like Exercise 2can help provide the basis of learning the timing and finger bogtesini bow weight for the underslide.
The expected rubato in this gesture a judicious use is recommended! Although in some editions of Elegymm. Giovanni Bottesini — Bottesini — Elegy No. The first is in mm. I recommend a simple, repetitive fingering pattern for accuracyfinishing the scale withensuring that the first finger remains on the string throughout the scale.
The conclusion of Elegy also poses a challenge, particularly the turn and grace notes at the end of m. Measure 36 is performed in a variety of ways to incorporate a trill on the C, with my preference being to divide the value of the C in half within the bar, with the latter half played as a trill.
Elegy and Tarantella (Bottesini, Giovanni)