Transcriptions virtuoses  

Franz Schubert
Johannes Brahms
Robert Schumann
Igor Stravinsky
Sergej Rachmaninov
Fritz Kreisler
Gabriel Fauré
Camille Saint-Saens
Ernest Bloch
Frédéric Chopin
Francis Poulenc

Transcriptions virtuoses

Daniel Marillier, double bass
Emmanuelle Bartoli, piano


VOL GR 011

Price for one CD : 9.90 €


Listen all tracks :

Track, Title Listen Caddy
Camille Saint-Saens
01. Allegro Appassionato (4:32) 0.99
Franz Schubert
02. An die Musik (3:50) 0.49
03. Im Frühling (4:18) 0.49
04. An Sylvia (2:06) 0.49
Johannes Brahms
05. Liebestreu (2:17) 0.49
06. Wie Melodien (1:52) 0.49
Robert Schumann
07. Fantasiestück op.73, I (3:23) 0.49
08. Fantasiestüc op.73, II (3:55) 0.49
09. Fantasiestück op.73, III (4:18) 0.49
Igor Stravinsky
10. Chanson russe (4:46) 0.59
Sergej Rachmaninov
11. Sonate pour violoncelle et piano op.19 (6:00) 0.59
Fritz Kreisler
12. Syncopation (2:09) 0.59
Gabriel Fauré
13. Après un rêve (3:17) 0.59
Ernest Bloch
14. Nigun (7:21) 0.59
Frédéric Chopin
15. Nocturne, C sharp minor (4:35) 0.49
Francis Poulenc
16. Les chemins de l'amour (3:36) 0.59

Total Time 1:02:14

The double bass, with its beautiful deep timbre, is seldom recorded. This CD features Daniel Marillier, an outstanding musician with a brilliant mastery of technique, who is able to use his strong musical instincts to re-interpret works by Chopin, Schubert, Schumann and others - even though these composers wrote nothing specifically for the double bass.

It is important to remember that there is a cruelly limited repertoire for the double bass. Cellists may regret that their eighteenth and ninteenth century predecessors did not succeed in motivating Mozart, Beethoven, Brahms or Mendelssohn to compose concertos for their instrument. But the situation is much worst for the double bass? Neither Haydn, nor Bach, nor Schumann ever wrote for it! Transcription seems to be the best way to expand this rather thin repertoire. The artistic and technical sophistication of modern double bass players is poorly served by the limited number of pieces composed by Bottesini and others.

There are historical precedents for this. Bach transcribed Vivaldi, Mozart adapted Bach, Schubert used his own Lieder for his quartet Death and the Maiden and The Trout, Liszt transcribed songs by Schubert for piano solo and even David Oistrakh, with the composer’s blessing, re-arranged Prokoviev’s Sonata for Flute for his own instrument. A transcription gives a composition a new colour. It can enrich it through the specific timbre of a different instrument and can reveal new qualities in a well known composition. The pieces on this CD are enriched by the special beauty of the double bass - its assurance, majesty and melancholy.

The Allegro Appassionato op.43 by Saint-Saëns, was played for the first time in 1874 at the Société Nationale de Musique. The pure beauty of this virtuoso, nostalgic piece adapts well to the double bass.

The three Lieder by Schubert and the two by Brahms, arranged by Daniel Marillier himself, are amongst the best known and most representative examples of vocal compositions by these two geniuses - characterised by Schubert’s intimate mood and oscillation between major and minor keys and by Brahms’s lyrical phrasing.

Translated by Tanya Harrod