VIENNA FIVE-STRING DOUBLE BASS IN CONCERT AND CHAMBER MUSIC OF THE CLASSICAL PERIOD

Abstract

The Purpose of the Article. The article examines the unique role of the Vienna five-string double bass in the development of concert and chamber music during the Classical period. It aims to analyze how the instruments distinctive tuning system (tertiary-quartal tuning centered on D major) influenced compositional style, performance techniques, and the emergence of a virtuosic repertoire for the double bass in late 18th-century Vienna.
Research Methodology. The study employs a historical and analytical approach based on the examination of original scores, archival documents, and scholarly research. The methodology integrates comparative analysis of musical works composed for the Viennese double bass and structural examination of the instrument's construction and tuning system.
Results. The findings reveal that the technical and acoustic features of the Viennese double bass facilitated the creation of a rich body of repertoire by composers such as Haydn, Mozart, Hoffmeister, Dittersdorf, and Sperger. The unique tuning enabled ease in executing arpeggios, harmonics, and scalar passages, thus broadening the instrument9s expressive capabilities. Moreover, it contributed to redefining the double bass9s role from a continuo instrument to a full-fledged solo and ensemble voice.
Novelty. This research sheds light on an underexplored aspect of music history 3 the interaction between instrument design and compositional style in the Classical period. It introduces new insights into the historically informed performance of works written for the Viennese double bass.
The Practical Significance. The study encourages modern performers to engage with historically accurate techniques and tuning systems, offering a deeper understanding of Classical repertoire. It also provides valuable material for educators, performers, and researchers aiming to revive and preserve this distinct Viennese tradition.