Auld Robin Gray is based on an old Scottish melody composed by Rev. William Leeves, which he set to a poem by Lady Anne Lindsay. …The melody has been used by many composers, most notably Joseph Haydn, and Bottesini’s version for double bass and piano, according to Chris West (The Paganini of the Double Bass, 2021), dates from 1887.
Bottesini played Auld Robin Gray in London in February 1887 but this is probably one of the composer’s least known works. In one movement it introduces the theme, with a simple and straightforward accompaniment, followed by variations which employ the entire range of the double bass, ending with a coda which is designed as a flashy and impressive audience pleaser.
Auld Robin Gray is a fun and light-hearted piece, contrasting lyrical melodies with virtuosic harmonic flourishes which should appeal to performers and audiences alike.
This edition includes accompaniments for both solo and orchestral tuning.
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Giovanni Bottesini was an Italian Romantic composer, conductor, and a double bass virtuoso born on December 22, 1821, in Crema, Lombardy1. He is often referred to as “the Paganini of the double bass” due to his extraordinary skill with the instrument.
Bottesini’s early musical education was provided by his father, an accomplished clarinetist and composer. He began playing timpani with the Teatro Sociale in Crema before the age of eleven and later studied violin with Carlo Cogliati1. His father sought a place for him at the Milan Conservatory in 1835, and Bottesini prepared a successful audition for the double bass scholarship in a matter of weeks.
After leaving the conservatory in 1839, Bottesini embarked on a globe-trotting career as a double bass virtuoso. He made his first appearance in England in 1849 and enjoyed great popularity for many years due to his extraordinary skill as a performer1. Bottesini was also known throughout Europe as a conductor and directed the first performance of Verdi’s Aida at Cairo in 1871.
Bottesini’s contributions to music include numerous operas, sacred works, orchestral pieces, and works for the double bass. His fantasies on Lucia di Lammermoor, I puritani, Beatrice di Tenda, and especially La sonnambula are virtuosic tours de force that are still popular with those who are highly accomplished on the instrument.
He passed away on July 7, 1889, in Parma.
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