Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass

This study addresses the discrepancy between the range of Beethoven's double bass parts and the instrument or instruments in use in Vienna in his day. Scholars and musicians have complained about Beethoven's apparent disregard for the instrument's capabilities since the middle of the...

Full description

Bibliographic Details
Main Author: Buckley, Stephen
Other Authors: Loewen, Peter
Format: Others
Language:English
Published: 2013
Subjects:
Online Access:http://hdl.handle.net/1911/71928
id ndltd-RICE-oai-scholarship.rice.edu-1911-71928
record_format oai_dc
spelling ndltd-RICE-oai-scholarship.rice.edu-1911-719282013-09-18T03:28:45ZBeethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower CompassBuckley, StephenDouble BassLower CompassViennese VioloneThis study addresses the discrepancy between the range of Beethoven's double bass parts and the instrument or instruments in use in Vienna in his day. Scholars and musicians have complained about Beethoven's apparent disregard for the instrument's capabilities since the middle of the nineteenth century. A systematic examination of Beethoven's orchestral writing for the double bass shows that this reputation is undeserved. In fact Beethoven paid close attention to the lower compass of the double bass throughout his orchestral writing: a clear boundary of F is observed up to op. 55, and thereafter E, though F still obtains in some late works. Beethoven's observance of the F boundary suggests that he was writing for the Viennese five-stringed violone, and not the modern form of the instrument, as has previously been assumed in scholarship. Other evidence pointing to the use of this instrument is presented. Some of Beethoven's bass parts between op. 55 and op. 125 do in fact descend to C (sounding C1); yet there is no evidence supporting the existence of a double bass instrument capable of C1 in Beethoven's day. Possible explanations for these violations of the compass of the double bass are discussed. These focus on the possibility of simple proofreading error, and on evidence for the unwritten practice of reinforcing the double bass with one or more contrabassoons. The contrabassoon in Beethoven's day had a lower compass of C1, and Vienna was an early center for its production and use. Analysis of the bulk of Beethoven's double bass parts for their range is given. Emphasis in this analysis is given to instances where Beethoven demonstrates a clear awareness of the compass of the instrument. Out-of-range pitches are compiled in table form.Loewen, Peter2013-09-16T14:51:30Z2013-09-16T14:51:32Z2013-09-16T14:51:30Z2013-09-16T14:51:32Z2013-052013-09-16May 20132013-09-16T14:51:32Zthesistextapplication/pdfhttp://hdl.handle.net/1911/71928123456789/ETD-2013-05-527eng
collection NDLTD
language English
format Others
sources NDLTD
topic Double Bass
Lower Compass
Viennese Violone
spellingShingle Double Bass
Lower Compass
Viennese Violone
Buckley, Stephen
Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass
description This study addresses the discrepancy between the range of Beethoven's double bass parts and the instrument or instruments in use in Vienna in his day. Scholars and musicians have complained about Beethoven's apparent disregard for the instrument's capabilities since the middle of the nineteenth century. A systematic examination of Beethoven's orchestral writing for the double bass shows that this reputation is undeserved. In fact Beethoven paid close attention to the lower compass of the double bass throughout his orchestral writing: a clear boundary of F is observed up to op. 55, and thereafter E, though F still obtains in some late works. Beethoven's observance of the F boundary suggests that he was writing for the Viennese five-stringed violone, and not the modern form of the instrument, as has previously been assumed in scholarship. Other evidence pointing to the use of this instrument is presented. Some of Beethoven's bass parts between op. 55 and op. 125 do in fact descend to C (sounding C1); yet there is no evidence supporting the existence of a double bass instrument capable of C1 in Beethoven's day. Possible explanations for these violations of the compass of the double bass are discussed. These focus on the possibility of simple proofreading error, and on evidence for the unwritten practice of reinforcing the double bass with one or more contrabassoons. The contrabassoon in Beethoven's day had a lower compass of C1, and Vienna was an early center for its production and use. Analysis of the bulk of Beethoven's double bass parts for their range is given. Emphasis in this analysis is given to instances where Beethoven demonstrates a clear awareness of the compass of the instrument. Out-of-range pitches are compiled in table form.
author2 Loewen, Peter
author_facet Loewen, Peter
Buckley, Stephen
author Buckley, Stephen
author_sort Buckley, Stephen
title Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass
title_short Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass
title_full Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass
title_fullStr Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass
title_full_unstemmed Beethoven's Double Bass Parts: The Viennese Violone and the Problem of Lower Compass
title_sort beethoven's double bass parts: the viennese violone and the problem of lower compass
publishDate 2013
url http://hdl.handle.net/1911/71928
work_keys_str_mv AT buckleystephen beethovensdoublebasspartstheviennesevioloneandtheproblemoflowercompass
_version_ 1716597493216575488