Luogo e data di registrazione		-
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42051 AP - (1 LP - durata 42' 00") - (p) 1977 - Analogico
	Originale LP		-
	Prima Edizione CD		-
	Note		-

Rossini's Duetto, written in 1824 was an unpublished work in the possession of the "Salomons Collection" in London. The manuscript came to light in 1969 during an auction and was published in England the same year. Sir David Salonons (1797-1873) was a banker and amateur cellist. His one wish was to perform together with the famous doublebass virtuoso Domenico Dragonetti (1763-1843), and for this purpose had Rossini composed the duet which was played on the very evessing was written. The style of the work display a great deal of the doublebass' development at that time. To a considerable extent Rossini responded to the accelerando style practised by Dragonetti, which had become possible following the designing of a new doublebass bow - shorter and stronger in construction - which developed major percussive force. Even Beethoven was strongly influenced by Dragonetti's invention. After the same bow was introduced in Vienna he wrote appropriate doublebass figurations, inter alia in the scherzo of his 5th Symphony, which up to that time had been considered as incapable of performance. Jean Barrière and Louis Couperin were among other things, famous viola da gamba players during their time, and composed works for their own repertoires. The performance of the two works was effected by two gambas of different pitches. With an interpretation by violoncello and doublebass, the tonal impression clearly moves into the vicinity of the period in which the pieces were composed. The cello is more available for the higher ranges, while the bass tasks are left to the doublebass. Because of its mode of construction (marked gamba-style slant and gamba-shaped outline), the later can be described as the sole surviving type of the earlier string instrument. Mozart's Sonata in B-flat major is a contemporary transcription of the Sonata for Bassoon and Violoncello KV 292. The Viennese dublebass virtuoso Pischelberger (for whom Mozart also wrote his concert aria KV 612 "Per questa bella mano") already performed the sonata in the same setting as this recording in the last decade of the 18th century, as can be seen from old concert reviews. Klaus Stoll (English translation by Frederick A. Bishop) ·········· Jörg Baumann, solo cellist with the Berlin Philharmonic, and Klaus Stoll, lead doublebass player with the Philharmonic, have been giving concerts as a duet since 1972. Baumann was born 1940 in Berlin and following studies with Richard Klemm first joined the Berlin Radio Szmphonz Orchestra; in 1966 he became a member of the Berlin Philharmonic where he has been solo cellist since 1977. Baumann is widely active as a chamber music performer, inter alia as a member of the Westphal Quartet, the Philharmonic Soloists and of the 12 cellist of the Berlin Philharmonic. He plays an instrument built by the famous master Matteo Goffriller. Klaus Stoll was born in 1943, and as a pupil of Heinz Detering was already a member of the Niederrheinische Sinfoniker at the age of fifteen. In 1965 he joined the Berlin Philharmonic Orchestra and two years later moved up to become the leader of the doublebass players. Like Baumann, he has played in all the world's major music centres. Although the emphasis of Stoll's repertoire is on the classical music of Germany and Italy, he has so far given premiere performances of some 40 new compositions. Klaus Stoll plays a doublebass built in 1610 by Paolo Maggini of Brescia.