Bottesini’s Greatest Hits

Acknowledgments
Many thanks to my wife and superb cellist, Wendy, and sons Peter and Andrew, for your patience
with my many hours away from home. Thanks to Texas Tech University, for its financial support, and
the TTU School of Music for the use of the amazing Hemmle Recital Hall, and one of its beautiful
Steinway concert grands. Of course, a recording project such as this requires some wizardry from the
recording engineer. Thank you, Will Strieder, Professor of Trumpet, and director of the TTU School of
Music’s recording studio for your patience, attention to detail, and your own special brand of virtuosity.
—Mark Morton

Recorded, Mixed and Mastered by Will Strieder in Hemmle Recital Hall,

School of Music, Texas Tech University, Lubbock, Texas.
The recording took place intermittently over a great deal of time. The piano parts were
recorded first, then the bass. The first piano tracks were recorded January 5, 2009,
and the last bass track was recorded October 21, 2011.
Cover Photo by Heather Ann Design
Liner notes by Nickolas Miller
Piano Technicians: Kevin Fortenberry and Dan McSpadden
This recording was made possible in part by the office of the Provost of Texas Tech University.
All works edited and arranged by Mark Morton.

www.albanyrecords.com
TROY1411/12 albany records u.s.
915 broadway, albany, ny 12207
tel: 518.436.8814 fax: 518.436.0643
albany records u.k.
box 137, kendal, cumbria la8 0xd
tel: 01539 824008
© 2013 Albany Records made in the usa
warning: copyright subsists in all recordings issued under this label.
DDD Mark Morton
double bass & piano
In creating this unique recording, Mark Morton recorded the
piano part first, while imagining in his “mind’s ear” the tempo,
rubato and timing of cadenzas of how he plays the solo bass
part. Mark then recorded the solo bass part over the piano
accompaniment. There were slight timing issues that needed to
be adjusted in the piano part — in particular the exact timing
of the length of the cadenzas — but by and large, all the subtle
timings in the piano accompaniment remained the same.
The benefit of recording in this way is that the artist has a
“top to bottom” unified interpretation, by an artist that knows
and is performing 100% of the music. Additionally, this affords
the added feature of including an accompaniment CD with
which bassists can play along. This accompaniment CD is
entirely in solo tuning, with the sole exception of The
Carnival of Venice in which the bass is tuned up a minor third.
However, with modern computer applications, it is possible
lower the key down to orchestral tuning, and even change
the tempo!
—Will Strieder, Professor of Trumpet
Director of the Recording Program, Texas Tech University
The Music
Famed composer, double bass virtuoso, and conductor, Giovanni Bottesini is arguably one of the most
pivotal figures in the development of both technique and literature for the double bass. Known as the
“Paganini of the Double Bass,” Bottesini’s facility on the double bass is more than apparent through
his compositions, and by contemporary reviews of his performances. For example, H. Haweis wrote in
My Musical Life (1846-60): “I never wearied of his consummate grace and finish, his fatal precision,
his heavenly tone, his fine taste. One sometimes yearned for a touch of human imperfection, but he
was like a dead shot: he never missed what he aimed at, and he never aimed at less than perfection.”
As a conductor, Bottesini led many performances of his own operas, and the operas of others.
In fact, he conducted the premier of his friend, Guiseppi Verdi’s famous opera, Aïda, in Cairo, Egypt.
Bottesini used all his gifts to create a new wealth of indispensable repertoire for the double
bass, and to expose the public to the potential virtuosity of this otherwise cumbersome instrument
through numerous performances throughout North America, Central America, and Europe. The beauty
and virtuosity of both his playing and his compositions astonished audiences everywhere. This CD is
a tribute to the genius that was Giovanni Bottesini.
Giovanni Bottesini
(b. December 22, 1821 Crema, Lombardy, d. July 7, 1889, Parma)
Introduction and Gavotte
With this homage to French dance, the introduction feels reminiscent of the introduction to a pas de
deux, while the main portion of this charming work is a Gavotte, a dance popular in France in the 17th
and 18th centuries. All Gavottes feature a moderate tempo in four in which phrases begin in the middle
of the bar on the third beat. This particular work seems to be an affectionate tongue-in-cheek satire
of the Gavotte — and French culture in general — going so far as to mimic laughter in the coda!
Fantasy on Themes from La Sonnambula
Being a prominent opera conductor in his time, Bottesini had a keen awareness of Italian opera
repertoire. He capitalized on popular opera tunes by writing a number of fantasies and variations on
the “hits” of the day, such as this Fantasy on La Sonnambula (The Female Sleepwalker) by Vincenzo
Bellini (1801-1853). Bottesini must have been a very busy man — it is likely that he performed
these works as intermezzi to the operas he conducted. Audiences would attend operas conducted by
Bottesini, primarily to hear him perform his solo double bass works during intermissions, regardless
of which opera was being presented. This fantasy on La Sonnambula includes quotes in the Andante
cantabile of “D’un pensiero e d’un accento” from the beginning of Act II, and a Theme and three
variations are on “Ah! Non giunge uman pensiero” from the finale of Act II.
Rêverie
The title of this piece refers to the French word “rêve,” or “dream,” a popular topic of French songs
from this time period. Listen for the dreamer to drift off to slumber at the end of this brief work.
Tarantella
Contrary to popular belief, the Tarantella does not derive its name from the myth that this dance was
an antidote to tarantula bites, but the fact that the name comes from the city of Taranto, located
in southern Italy. This circular dance is a courtship or wedding dance, but evolved into a virtuosic
showpiece. Though the Tarantella ends with a fast-paced tizzy of excitement, it traditionally starts at
a more moderate tempo and accelerates to the end. Apropos, Bottesini marks the tempo of the body
of the work at merely Allegretto (cheerful, but not too fast).
Élégie in D
It is said that this was Bottesini’s favorite of his compositions. The tempo (Andante sostenuto)
creates the feel of a slow waltz and helps to establish a feeling of a nostalgic melancholy, as if
mourning the loss of a past love and remembering a dance from long ago.
Niccolo Paganini
(1782-1840)
Variations on One String on a Theme from G. Rossini’s (1792-1868) Opera Moses in Egypt
Violinist Niccolo Paganini is considered to be the first “superstar” virtuoso. Many composers,
such as Franz Liszt and Bottesini emulated his style of shameless exploitation of extreme virtuosity.
This piece is one of a genre of works that Paganini wrote to be played entirely on one string. This
transcription for double bass is likewise played entirely on one string.
Giovanni Bottesini
Introduction and Variations on “The Carnival of Venice”
Countless sets of variations have been written by many composers on this familiar tune, most
notably for the coronet or trumpet. This particular introduction, theme, and eight variations is
Bottesini’s incredibly virtuosic contribution to the scores of variations that “The Carnival of Venice”
has inspired. It was with Bottesini’s performance of his Variations on “The Carnival of Venice” that
H. Haweis effused, “How he bewildered us by playing all sorts of melodies in flute-like harmonics,
as though he had a hundred nightingales caged in his double bass.”
Romanza Pathetica (Mélodie)
This piece was first published in France under the title “Mélodie.” This is one of Bottesini’s most
serious and beautiful works. Very French in texture, this Romanza is in the style of Frederic Chopin,
a composer that Bottesini must have admired. Further evidence of this admiration can be found in
the Bottesini song for high voice, double bass, and piano, “Tutto il Mondo Sera,” in which he set
Chopin’s Étude Op. 25, No. 7 in C# minor.
Variations on “Nel Cor Più Non Mi Sento” The Performer
This set of three variations is based on the famous aria from the 1790 opera La Bella Molinara
Hailed by Classical CD Reviews as “a most artistic representative of the new generation developed
(The Pretty Miller Girl) by Giovanni Paisiello (1740-1816). Part of the standard vocal literature,
in the last half century,” for his previous Albany Records release (TROY237), Mark Morton is the
“Nel Cor Più Non Mi Sento,” is familiar territory to all sopranos. The second and third variations
Assistant Professor of Double Bass at Texas Tech University. For 23 years, he was a member of
are particularly extensive examples of Bottesini’s trademark virtuoso harmonics.
the Columbus Symphony (Ohio) Orchestra — 14 years as principal bass and 9 years as assistant
principal bass. Morton is the first-prize winner of the 1990 International Society of Bassists Solo
“Una Furtiva Lagrima” from L’Elisire d’Amore
Competition, and is the author of the popular “Dr. Morton” series of double bass technique books
This piece is an almost exact transcription of the famous tenor aria (A Furtive Tear) from the opera
published by Northeastern Music Publications.
L’Elisire d’Amore by Gaetano Donizetti (1797-1848). This is another example of Bottesini “borrowing”
A busy recitalist and concerto performer, Morton has soloed in Europe, South America, Canada,
the big hits of 19th century Italian opera.
and of course the United States, and has been a featured double bass soloist on radio broadcasts
including NPR’s “Performance Today,” WGBH in Boston, and WQXR in New York.
Capriccio di Bravura, Op. Post.
As an orchestral musician, Morton has played under the direction of many conductors including
This remarkably virtuosic and serious work is another example of Bottesini’s artistic relation to
Leonard Bernstein, Lorin Maazel, Raymond Leppard, Alexander Schneider, Pinchas Zuckerman, Hans Graf,
Paganini, whose 24 Caprices for violin are numbered among the most famous works of all time.
Gunther Herbig, Vladimir Spivakov, John Williams, Henry Mancini, Marvin Hamlisch, and Mitch Miller.
This particular capriccio opens with a slow introduction, but the body of the work is in a fast 6/8.
As evidenced by this CD, Mark Morton is also an accomplished pianist, having appeared as
piano concerto soloist while still a teenager with several orchestras, including the Houston Symphony
Fantasy on Lucia di Lammermoor (1835) by Gaetano Donizetti
Orchestra. He is also known among ragtime circles for his insightful interpretations of the music
Another substantial work inspired by famous opera tunes, the introduction of this fantasy includes
of Scott Joplin.
a fragment of “Tu che a Dio spiegasti l’ali” (Finale from Act II). You will probably recognize the tune
Dr. Morton earned the undergraduate and graduate degrees from the Juilliard School in New
from the chorus “Oh! Meschina!,” and in the finale of this fantasy, the famous tune from Act I of
York, being the first bassist in history to earn the Artist Diploma, Bachelor, Master and Doctor of
Lucia “Chi mi frena in tal momento?
Musical Arts degrees all from Juilliard. His principal teachers include David Walter, Channing
—Nickolas J. Miller
Robbins, Stuart Sankey, Eugene Levinson and Winston Budrow.
Morton performs on a double bass made by Gennaro Vinaccia of Naples, Italy in the last
quarter of the 18th century. This instrument has a standard string length of 108cm. Mark Morton
is a D’Addario Artist.
 Bottesini’s Greatest Hits
Bottesini’s Greatest Hits
troy1411/12

Mark Morton
double bass & piano

CD1 CD2
Mark Morton, double bass & piano Mark Morton, piano only
Giovanni Bottesini Giovanni Bottesini
1 Introduction and Gavotte [4:55] 1 Introduction and Gavotte [4:55]
2 Fantasy on Themes from La Sonnambula [8:53] 2 Fantasy on Themes from La Sonnambula [8:53]
3 Rêverie [3:05] 3 Rêverie [3:05]
Mark Morton, double bass & piano

4 Tarantella [5:54] 4 Tarantella [5:54]

Mark Morton, double bass & piano

5 Élégie in D [3:48] 5 Élégie in D [3:48]
Niccolo Paganini Niccolo Paganini
6 Variations on One String on a Theme 6 Variations on One String on a Theme
from Rossini’s Opera Moses in Egypt [7:08] from Rossini’s Opera Moses in Egypt [7:08]
Giovanni Bottesini Giovanni Bottesini
7 Introduction & Variations on “The Carnival of Venice” [8:56] 7 Introduction & Variations on “The Carnival of Venice” [8:56]
8 Romanza Pathetica (Mélodie) [4:57] 8 Romanza Pathetica (Mélodie) [4:57]
9 Variations on “Nel Cor Più Non Mi Sento” [4:44] 9 Variations on “Nel Cor Piu Non Mi Sento” [4:44]
10 Una Furtiva Lagrima from L’Elisire d’Amore [2:54] 10 Una Furtiva Lagrima from L’Elisire d’Amore [2:54]
11 Capriccio di Bravura, Op. Post. [7:59] 11 Capriccio di Bravura, Op. Post. [7:59]
12 Fantasy on Lucia di Lammermoor by Gaetano Donizetti [8:39] 12 Fantasy on Lucia di Lammermoor by Gaetano Donizetti [8:39]

Total Time = 72:25 Total Time = 72:25

Bottesini’s Greatest Hits

This unique recording features Mark Morton performing the double bass and piano parts on CD1.
CD2 contains all the piano accompaniments performed by Mark Morton and is intended as a play-along CD for bassists in solo tuning.
(The Introduction & Variations on “The Carnival of Venice” requires the bass to be tuned up a minor third, a practice often employed by Bottesini himself.)

www.albanyrecords.com
TROY1411/12 albany records u.s.
915 broadway, albany, ny 12207

troy1411/12
tel: 518.436.8814 fax: 518.436.0643
albany records u.k.
box 137, kendal, cumbria la8 0xd
tel: 01539 824008
© 2013 Albany Records made in the usa
warning: copyright subsists in all recordings issued under this label.
DDD