It’s strange how the smallest instruments of the orchestra are often those that can be heard most distinctly and how the largest are often noticeable by their neglect. Of the smallest, the piccolo, or rather the sopranino recorder which has a similar range, was especially loved as a solo instrument by Vivaldi, (why didn’t he compose a concerto for the double bass?) and the piccolo plays major parts in such works as Beethoven’s ninth symphony. For the double bass I do remember its memorable solo in the last movement of Haydn’s ‘Farewell’ symphony and yet without this instrument no orchestral concert would have anything like its genuine, complete resonance.
Bottesini, the Paganini of the double-bass, the Italian virtuoso, did much to rectify the instrument’s ‘low’ profile. The use jazz makes of the double-bass, with such great names as Charlie Mingus, Charlie Haden and Stanley Clarke, has also contributed to its spotlight.
An exceptional double-bass player of our contemporary scene is Valentina Scheldhofen Ciardelli who, starting as a pianist, turned bass player in 2009 and has since won a considerable string of major awards. I have written several posts mentioning her brilliant playing. These can be found at:
https://longoio2.wordpress.com/2017/01/16/three-young-artistes-in-concert/
https://longoio3.com/2018/07/24/luccas-double-bass-bonanza/
https://longoio3.com/2018/08/08/a-wonderfully-unusual-combination-in-lucca/
Valentina’s recital last week, given as part of Charlton House’s Friday lunchtime concert series featuring young artists, displayed her deftness to the full.
This was the programme:
The combination of Jacob Bettinelli, bass baritone and Daniella Nassar, pianist with Valentina Scheldhofen Ciardelli worked brilliantly and enabled the audience to appreciate how the double-bass mixes so well with the most disparate elements.
Of particular interest was ‘Per questa bella mano’, the only aria Mozart wrote with obbligato double bass. Dating from his last year, 1791, this nostalgic piece has a truly fiendish part for the double-bass player (originally performed by Friedrich Pischelberger, of whom I know nothing) and excellently rendered by Valentina who entwines her tall, slender shape around the contours of her beloved instrument in the exploration of its most subtle sounds, vibrating depths, decisive pizzicati and arcane harmonics.
I cannot fail to mention the sensitive playing of Daniella Nassar in the Rachmaninov pieces and the fine voice of Jacob Bettinelli, but Valentina’s playing is truly exceptional.
There will be a chance to hear the latest from Ms. Ciardelli when she launches a new CD in collaboration with pianist Alessandro Viale, entitled “Music from the Sphinx”, this Wednesday, 13 November 2019 at 7:00 pm at the Trinity Laban Conservatoire, part of the Greenwich University site in London SE10. The CD will present a repertoire developed in the Trinity Laban Junior Fellowship research year; Valentina is not only a performer but also a composer intent on expanding the double bass repertoire, particularly with her already well-known transcriptions of Frank Zappa’s repertoire and also with new pieces written for her by contemporary composers. Be there if you can and find out the reason for the sphinx…
Even nearer in date is this event which Valentina has recently informed me about:
Programme:
- Peaches en Regalia, F. Zappa
- Questo Amor, Vergogna mia, G. Puccini
- From Histoire du Soldat, I. Stravinskij
- Marche Royale
- Danse du Diable
- Intermezzo From Goyescas, E. Granados
- Fermo, che fai? G. Puccini
- Opalamonio, V. S. Ciardelli
- Blessed Relief, F. Zappa
- Tutto Cangia, il ciel s’abbella, G. Rossini
The Girls in the Magnesium Dress is a collaboration between two instrument of very different registers, and a vastly different number of strings… that is, the double bass and the harp. The artists in this peculiar ensemble are Valentina Scheldhofen Ciardelli and Anna Astesano. Their versatile repertoire appeals to both older and younger generations with sparkling transcriptions from opera, virtuoso repertoire and the 21st century, arranged by Valentina. The duo also collaborate with established composers such as John Alexander, Paul Patterson and Kurt Morgan. The Girls have performed in several important venues such as St- Martin-in-the-Fields, Wigmore Hall, Greenwich Theatre, St. James Piccadilly Church, Trinity Church, St. Mary Abbots Church, the GSM Auditorium, Sala dell’affresco and Chiesa di S. Micheletto in Lucca.
Booking for this event is at:
https://fidelio.space/whats-on/the-girls-in-the-magnesium-dress
Whet your appetite for this unmissable programme with a peek at some past performances!
You can find out more about Valentina on her web site at
https://www.valentinaciardelli.com/
Sorry to be pedantic, but it wasn’t the piccolo (i. e. piccolo flute) that Vivaldi composed for, but the piccolo recorder, in Italian “flautino”. I don’t think that the piccolo had yet been invented
Thanks for your comment Mr Stanley which has prompted me to make a correction in my post. I think I must have been thinking of other instruments covered by the Italian term ‘flautino’. These include piccolo, zuffolo (fipple flute) and sopranino recorder.
Interesting! Thanks for sharing 🙂