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Auditorium of Milan
“
The low register in which the double bass plays is a panacea for young musicians
and especially for their relatives: the impact they will have during the hours of study will be infinitely
more manageable than high instruments such as trumpets and violins!
and especially for their relatives: the impact they will have during the hours of study will be infinitely
more manageable than high instruments such as trumpets and violins!
”
Ironically, Dominik Wagner thus speaks of his great love, the double-bass, the instrument to which he dedicates his life. There are musicians who approach their instruments with incredible passion, almost in a sort of falling in love with the latter, from their material component to their exquisitely sound component. They sometimes use every fiber of their being to do justice to their instruments, making them sound like no one has ever done in the past, expanding the repertoire intended for them by commissioning pieces from contemporary composers, talking about them to young people.
Wagner is an "apostle" of the double-bass, and brings to the stage of the Auditorium di Milano a jewel of or his instrument’s repertoire, Nino Rota's Divertimento concertante, which coexists in this symphonic programme with the enchanting symphonic poem Orpheus by Franz Liszt and the Symphony No. 6 by Dvořák.
Wagner is an "apostle" of the double-bass, and brings to the stage of the Auditorium di Milano a jewel of or his instrument’s repertoire, Nino Rota's Divertimento concertante, which coexists in this symphonic programme with the enchanting symphonic poem Orpheus by Franz Liszt and the Symphony No. 6 by Dvořák.
