By Lucas Drew

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Extra resources for 77 Baroque Basslines for Double Bass

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Otherwise I’m not in touch with them at the moment; I received a letter two weeks ago in which she told me that she was going to Vienna to become a student of Sauer and she bade farewell. There’s no address in the letter, so I couldn’t answer. Many things have happened since then, but I wasn’t informed about anything; all of my information comes from Mrs. Gruber. 65 Bartók’s musical progress between the Liebeslieder and the works written in 1903 was considerable. A major transformational force that helped to move his compositional focus away from Brahms was hearing the first performance in Budapest of Richard Strauss’s Also sprach Zarathustra on 12 February 1902 (nearly six years after its premiere in Frankfurt).

Although largely conventional in approach (and reverting to the Brahmsian axis of the first movement), there are several elements of the finale that point forward to the mature composer. The most striking is found in the accelerating section of the transition to the reprise of the finale’s first theme (from bars 371–6), in which whole-tone scales in the violin are underpinned by hammered-out tritones and octaves (E–A–E in the right hand on the strong beats and A–E–A in the left hand on the off beats), the main beats being accented by D acciaccaturas.

This young man has developed his strength incredibly over the last 2 years. One and a half years ago his constitution was so weak that the doctors sent him to Meran lest the hard winter do him harm. And now he thunders around the piano like a little Jupiter. 64 In December 1901 Bartók performed in public again, at his first paid engagement, organised through the offices of Károly Gianicelli, the professor of double bass at the Liszt Academy (and a prominent supporter of Wagner’s music as well as a regular member of the orchestra at Bayreuth).

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77 Baroque Basslines for Double Bass by Lucas Drew

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