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Abstract
Beethoven’s Cello Sonata in G minor, Op. 5, No. 2 was first performed on double bass in 1803. The premiere bass performance was given by the virtuoso Domenico Dragonetti with Beethoven himself as the accompanist. Following this encounter, while Beethoven continued to be a mastermind of the double bass voice through his symphonic and chamber works, he composed no solo piece specifically for the instrument. Therefore, the symphonic and chamber works of Beethoven have become the primary mediums through which double bassists study and perform his works.
Over two centuries later, with two or three notable exceptions, Beethoven’s G Minor Sonata, Op. 5, No. 2 has been essentially ignored by both double bass students and professionals. The fact that Beethoven approved of Dragonetti’s performance is reason enough to merit continued attention to the work. This transcription project is an effort to re-ignite and spread interest in this sonata throughout the double-bass community.
The task of transcribing any work for double bass from cello literature poses numerous challenges. Among the difficulties are choice of register, fingering patterns, bow strokes, use of harmonics, and treatment of chords. To illustrate transcription choices, a lecture recital compares excerpts from the G Minor Sonata, Op. 5, No. 2 on both cello and bass. The lecture is the video portion of this project and is found in the University of Georgia library.
The underlying resource for the lecture is this document, made up of an introductory chapter and five additional chapters. Chapter two is a brief examination of Beethoven’s own transcriptions for other instruments and a discussion concerning Dragonetti’s unique bass technique. Chapter three compares the performance practice of the double bass and the cello. Chapters four and five systemically travel from the beginning to the end of the piece in order to thoroughly describe the decisions made in the bass transcription. Lastly, chapter six compares my project with other approaches involving the double bass and all or part of the G Minor Sonata, Op. 5, No. 2. Attached as an appendix is an edited double bass score with detailed performance and transcription notes.
Over two centuries later, with two or three notable exceptions, Beethoven’s G Minor Sonata, Op. 5, No. 2 has been essentially ignored by both double bass students and professionals. The fact that Beethoven approved of Dragonetti’s performance is reason enough to merit continued attention to the work. This transcription project is an effort to re-ignite and spread interest in this sonata throughout the double-bass community.
The task of transcribing any work for double bass from cello literature poses numerous challenges. Among the difficulties are choice of register, fingering patterns, bow strokes, use of harmonics, and treatment of chords. To illustrate transcription choices, a lecture recital compares excerpts from the G Minor Sonata, Op. 5, No. 2 on both cello and bass. The lecture is the video portion of this project and is found in the University of Georgia library.
The underlying resource for the lecture is this document, made up of an introductory chapter and five additional chapters. Chapter two is a brief examination of Beethoven’s own transcriptions for other instruments and a discussion concerning Dragonetti’s unique bass technique. Chapter three compares the performance practice of the double bass and the cello. Chapters four and five systemically travel from the beginning to the end of the piece in order to thoroughly describe the decisions made in the bass transcription. Lastly, chapter six compares my project with other approaches involving the double bass and all or part of the G Minor Sonata, Op. 5, No. 2. Attached as an appendix is an edited double bass score with detailed performance and transcription notes.