Interpretación y edición crítica de cuatro obras para contrabajo y ensamble de cuerdas

Abstract

The double bass is an instrument that is historically associated with others. The great majority of the eighteenth-century repertoire for the instrument corresponds to orchestral passages, and its use as a solo instrument is usually reduced to a small set of particular works or transcriptions of original materials for cello. In this sense, identifying repertoire that makes use of double bass in conditions of soloist or concertante in works of the classical period, is a constant challenge for students. This work is proposed in the first instance to transcribe and edit four works of the late eighteenth century where the contrabass is the protagonist. Then, a careful observation of interpretative aspects, suchas tuning and articulation, among others, has been made. The effective culmination of this work involves a live presentation of some of the pieces. The methodology includes a review of the manuscripts, a discussion of their characteristics and a critical edition in Finale that is suitable for a current interpretation of the works. The conclusions show the richness of the experiences that, both theoretical and practical, left a mark on my process as a bass player.