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Double Bass Classical Era Concertos- Vanhal and Dittersdorf

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Illfavor

Mar 9, 2005
199
0
38
DFW
#1
I'm trying to select a Concerto to play, and want to play something by Vanhal or Dittersdorf. I believe they both wrote 2 concertos, Dittersdorf's in D and E flat, and Vanhal's in C and D? Which of the 4 is the most challenging to learn? Which one sounds the best(overall best piece of music)?
 
#2
If I'm not mistaken Vanhal only wrote one concerto. When you see something that says 'Concerto in C' or 'Concerto in D' it is the same concerto in a different key. Usually half or a whole step difference with the same sound. I know Dittersdorf had Concerto's 'Concerto in E flat major', 'Concerto in E major', 'Concerto No. 2 in D', 'Concerto 2', and 'Concerto No. 1 in D'. All of that was just 2 concerto's. In different keys. But I haven't heard any of them so I don't have any info on either of them.
 
#3
I really hate the Dittersdorf concerti. I've played Vanhal, and would probably recommend that one. Mcnaire is correct, Vanhal only wrote one concerto. You'll actually find it in either C, D, or E. My version was in D major, but transposed up another whole step for solo tuning. If I was going to do it again, I'd probably relearn it in C. Seems like it would be much easier.
 
#8
I never really liked C Major. I'd much rather be in G or D in the upper octaves. Don't really know why....

I know Vanhal wrote for Viola, and I think Dittersdorf wrote a duet for Viola and Bass. I also remember reading somewhere that "von Dittersdorf" was a title he got when he was made something of political importance...like a Duke or Baron or something.
 
#10
GirlBass said:
I don't understand how a person can dislike an entire key signature. But then again I don't have perfect pitch so they all sound the same to me.
Click to expand...

One reason I don't like C major is that most songs in C are Baroque/Classical and I get annoyed play "Root Root Fifth Root" and such. I feel like I'm honking on C's all the time. I get the feeling playing other notes is more interesting, or that the composer couldn't be inventive with his key signature. It just screams "generic, happy, and boring"
 
#16
Illfavor said:
You serious?
Click to expand...

Yes, he is serious. It is the exact same piece. For example, when I was at all-east last month one of the pieces we played was Hungarian March by Hector Berloiz. Before the clinic we received one that started in the key of Bb and our first note was G then Bb then G. When we got there they gave us a new version that started in the key of C. The first note was an A then C then A. It is the exact same thing except a whole step higher. Think of it as solo tuning. If some thing is in C and there is a version in G then that version will be a half step up. Or if it is in D then it is a whole step up. As another general rule of thumb for me again. Add one sharpe go up half. Add 2 sharpes go up a whole step. Subtract a sharpe or add a flat go down a half step. Subtract 2 sharpes or add 2 flats go down a whole step. To help me with the Dragonetti Concerto in G. I listened to a recording of the Concerto in A (couldn't find a recording of G). It helped me allot. The thing is it was the exact same thing. Just different key.
 
#17
Thank you, I'm aware of that. Minuet in G and Minuet in A are the same thing terms of the relation of notes, but I wasn't really talking about that. I was actually alluding to the connotative qualities keys have. Many of my teachers and my Bible (The Mahler Companion) have assigned emotions or ideas to certain keys, and they would all probably disagree with the idea that a song is the same no matter the key.
 

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