THE DOUBLE BASS CONCERTO OF G. BOTTESINI IN THE REPRESENTATION OF BAROQUE OBLIGATORINESS RELEVANT TO THE POST-AVANT-GARDE PRESENT

Abstract

The purpose of the study is to identify in the creative method of Bottesini, a representative of the Romantic era, the features of Baroque Obligation in the interpretation of the concert genre typology for the double bass. The methodological basis is the intonation approach of the B. Asafiev school in Ukraine, with a pronounced hermetic and comparative orientation, as we have in the works of D. Androsova, O. Kozarenko, T. Levitska, O. Markova, O. Roschenko, A. Sokolova, V. Shulgina, and other leading musicologists and cultural scientists. The scientific novelty lies in the discovery of the connection to the pro-Baroque principles of the creative method of G. Bottesini, usually defined in connection with romantic thinking, although within the framework of the mentioned direction and in the post-Romantic creativity of the 1850s – 1880s, protoneobaroque style positions turned out to be extremely popular, fueling obvious tendencies towards the revival of Baroque music in the post-avant-garde present. The indicated stylistic tendency of the a-symphonic interpretation of the concert genre is an obvious parallel to the work of R. Schumann, in which we also have a «compression» of orchestral participation in the concert genre (see his works of this type in op. 92 and 134). Conclusions. The outstanding creative personality of G. Bottesini, the «Paganini of the double bass» in performance, as well as a bright composer and conductor, deserves special attention to his legacy in the modern post-avant-garde setting, in which the achievements of the Baroque, which have passed theatrical and dramatic tendencies of Viennese and post-Viennese instrumentalism, received special recognition as a way of presenting «pure concertity», a genre of glorification and solemnity in its spiritual genesis. The parallel found in the work of Bottesini’s interpretation of the Double Bass Concerto to a similar genre variety in R. Schumann indicates the embodiment of anti-symphonic tendencies of thinking in the post-Romantic historical period, which is a clear parallel to the modern veneration of the Baroque heritage within the post-avant-garde creative space.