Adolf Lotter Ed: David Heyes

Moto Perpetuo
String Orchestra

Adolf Lotter's Moto Perpetuo for string orchestra has been long out of print
until this new edition. The one movement work is accessible and entertaining,
offering something for performers and audience alike. Each part has something
of interest, even the basses, with the addition of a third violin part adding
a rich texture to the mix. The musical style is tonal and traditional,
producing an easy virtuoso work which has great energy and character. Apart
from in 'Light Music' circles or amongst double bassists, the name of Adolf
Lotter has long ago been consigned to the history books. Czech born, he lived
most of his life in London and was one of the leading bassists of his
generation alongside his multifarious activities as a composer and arranger.
Adolf Lotter was born in Prague on 4 December 1871 and studied double bass at
the Prague Conservatoire with Frantisek Cerny (1860-1940), and composition
with Antonin Dvorak (1841-1904). He showed much musical talent from an early
age and had already composed a double bass concerto before the end of his
studies. '...Mr Lotter once showed the celebrated master, Doctor Dvorak, the
MS. of a concerto for the instrument, but his sole and discouraging reply was
'Man! Whoever is going to listen to a double bass solo, why don't you write a
violin concerto?' However, later he performed the concerto with orchestral
accompaniment and, at the conclusion Doctor Dvorak came forward and
rapturously shook hands with the young performer and said 'I did not know
that so much could be done on the double bass.' It was performed later at the
Crystal Palace in London in 1895, conducted by August Manns (1825-1907), and
has probably not been played since then. In 1894 Lotter moved to England and
settled in London where he lived until his death in 1942. He worked as an
orchestral bassist and composer-editor for Hawkes & Son (later to become
Boosey & Hawkes) and his diary, which he kept from 1894 to 1914, gives a rare
and fascinating insight into the working life of an active and multi-talented
musician. Written in an elegant copperplate hand and in his adopted language
of English throughout, Lotter records many of his concerts, including names
of the conductor and soloists, his activities as a composer and arranger,
alongside his various European visits and income from his musical exploits.
The diary also gives a wonderful perspective of the 'real' person and the
entries of a non-musical nature often add to the whole, helping to flesh-out
the picture, bringing the name back to life and lifted from the history
books. 1899 Febr. 9 - 50 frank gold piece bought from Wostatek 50/- Febr. 25.
- Harmony Club Bohemian Fancy Dr. [Dress] Ball. Raided: shocking lies told by
the police. Jusp [Justice of the Peace] Shannon March 2 - Fight with B. at
East Street April 2. - Supper at 59 East Sq. Bldgs [Buildings]. Mr. & Mrs.
Payne & Jennie Payne [Jennie was Lotter's future wife] Oct 16. - Italian
Double Bass bought from Signor Auzenipamber. Paid on account ?15.0.0. Dec 4.
- Received silver cigarette case from Miss J. Payne Adolf Lotter worked with
many of the leading musicians, composers and conductors including Henry Wood,
Edward Elgar, Richard Strauss, Eugene Ysaye, Arthur Nikisch, Camille
Saint-Saens, Felix Weingartner, Fritz Kreisler, Joseph Joachim, Enrico
Caruso, Thomas Beecham, Edvard Grieg, Beatrice Harrison, Nellie Melba, Pablo
Casals, Ernst Dohnanyi, Jan Kubelik, Bruno Walter, Otakar Sevcik and Arnold
Schoenberg, to name but a few! In a career lasting almost fifty years, his
diary is a veritable Who's-Who of the leading musicians of the day. As an
orchestral bassist Lotter played throughout Great Britain and was Principal
Bass of the Queen's Hall Orchestra, London Symphony Orchestra, Guildford
Symphony Orchestra, London String Players and Glyndebourne Festival Orchestra
(1935-36). He was a member of the Queen's Hall Orchestra from 1898 to 1930
and his first concert was on 23 October 1898, as 6th bass, and conducted by
Henry Wood. A year later he was promoted to 5th bass for his second season
with the orchestra and became Principal Bass in 1911, recording in his diary:
1911 May 8 - Letter arrived from Sir Henry Wood with the offer of the
principal Bass Player Q.H.O. Alongside his performing and recording
commitments, Lotter became and editor and music adviser at Hawkes & Son from
1906, having already sold several of his works to Hawkes (Rouge et Noir,
1906) and Boosey & Company (March - The Shamrock). His list of original works
and arrangements is certainly impressive and he was a busy and productive
musician throughout his life in London. Apart from his early Concerto for
double bass and orchestra, Lotter composed remarkably few works for his own
instrument. 'Darby & Joan' is scored for double bass and violin (or bassoon
and flute) and piano, or string orchestra and was originally published by
Melodeon, his own publishing company. Described as a 'novelty intermezzo',
the music is light and accessible, tuneful and lively, with few technical
challenges for either soloist and is typical of the salon music of the early
years of the 20th-century. He also transcribed a Trio for viola, cello and
double bass by Ignaz Pleyel (1757-1831), although there is no indication on
the manuscript, which is beautifully and clearly written, about the origins
of the original trio. Lotter's 'Practical Tutor for the Double Bass -
Professor Josef Hrabe's Method', published in 1933, is still in print today!
David Heyes [22 December 2014]

Recital Music

37.50 EUR

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GN番号：GN476931

出版番号：RM555