V
slurs and embellishments to facilitate the task of present-day performers. In order to preserve the variety of articulation typical of the time, parallel passages were generally not standardized to conform with one another. In these cases, solely the dynamics were borrowed. All addenda were placed in parentheses; added slurs were printed in dashed lines. In the solo instrument, the grace notes invariably notated as “long” in the source were reproduced without change, even though some might just as easily be played short (e.g. mvt. I, m. 51 and mvt. II, m. 41). We have also retained the fundamental distinction in the source between staccato dot and dash. Wherever the writing is inaccurate or contradictory, we have attempted to harmonize the readings; in doubtful cases, preference was given to the staccato dot. Sometimes slurs are not positioned properly in the source, so that a musically compelling solution must be found on the basis of the context in question. Problematic passages and readings are elucidated in the “Revisionsbericht” (Critical Commentary). As in many instrumental concertos of that time, there are no dynamic markings in the solo passages of the work. We have deliberately refrained from adding such markings so as not to pose unnecessary restrictions on the performer.
Notes on “Viennese Tuning” One of the goals of this edition is to encourage players to become more familiar with the historical “Viennese tuning” (A–d–fK–a). Without this tuning – for which Dittersdorf wrote a further double bass concerto (Krebs 171) and a Sinfonia Concertante for viola and double bass (Krebs 127) – the flowering of the solo double bass playing during the Viennese classical period would have been virtually unthinkable. As far as fingering is concerned, the “Viennese tuning” offers an extremely efficient means of rendering the musical text. Our concerto offers a prime example of this in the very first measures of the theme of the first movement, which consists entirely of open strings and harmonics. In general, open strings tuned to a D major triad produce a highly distinctive sound with a great power of projection. Despite its patent advantages in sound and execution, “Viennese tuning” fell into disuse soon after 1800, probably owing to its restriction to D major and related keys, and its unsuitability for more remote tonalities. Due to the “Viennese fabric” of the work, a few passages are not playable with a modern double bass in solo or orchestral tuning without adjustments or simplifications. Such passages have been adapted with utmost restraint so as to be performable on a modern double bass tuned in fourths. The piano reduction published by the G. Henle Verlag in Munich (HN 759 / EB 10759) contains solo parts with suggestions for executing these passages (fingering and bowing) for solo, orchestra and “Viennese tuning” and cadenzas by the editor. The editor and publishers wish to thank the Landesbibliothek Mecklenburg-Vorpommern for allowing them to consult the manuscript source and for granting permission to publish the work. Dresden, Fall 2010
Tobias Glöckler