Thomas Martin ~
In Search of Bottesini
-- Part Three --

In tracing Giovanni Bottesini’s movements as a conductor, they are nearly impossible to separate from his movements as a soloist, as he frequently appeared in both capacities, in addition to (as mentioned in Part two) trying to find time for his great love, composition.
As a musician in this period of Music History, Bottesini had “seasons” of Opera or concerts lasting a matter of weeks to months in one place, and long “tours” in which a group of artists went from town to town appearing in the “pot pourri” type of mixed concerts which were popular at that time, each appearing in several numbers and often accompanying each other.

Bottesini’s career as a conductor probably began during his days at the Milan Conservatory, and blossomed during his stay at the Teatro Tacon in Havana. He went to Havana in 1846 with his great friend, Luigi Arditi, the leading violinist and conductor.  Bottesini was principal double bass and “Maestro al piano”, which un-doubtedly included some conducting.  Also, he was involved in conducting his first operatic venture, Christopher Columbus, (although the actual title was Colon en Cuba (Columbus in Cuba).

Arditi recalled this period fondly in his reminiscences, saying that he and Bottesini shared a quaint house with large windows with “innumerable parrotts (sic) and dogs” (not Bottesini’s last collection of animals.)  Apparently, they had a servant named Francesco who Bottesini, though far from rich, was continually bailing out of jail for being out after curfew.

Arditi wrote a number of compositions for this partnership which had begun earlier in Italy. (Arditi, Bottesini, and their other friend Piatti had all appeared together in numerous concerts, including the coronation of Emperor Ferdinand in Vienna where they were “enthusiastically applauded by the Austrian court”). His works included a fantasia on I Puritani for violin and double bass, a Carnival of Venice Fantasy for the same combination as well as a Scherzo on Cuban Melodies.  Bottesini also was busy composing during this time. Some of his compositions from Cuba include: Music for the poem Dia Nebuloso, a Birthday Ode to Isabel II, and a Nocturne for violin and piano.
It seems that Bottesini was terribly sea sick all the way from Genoa to Havana, not surprising when one considers that he was sailing before steam ships!  Given this fact, plus his fear of carriages, it is surprising that he became such a perpetual traveller.  Once arrived in Cuba and having recovered, he was taken to everyone’s heart and was known as Juan Bottesini.

On his first visit to England in 1848, he appeared as a conductor at the music festivals in Buckingham and Birmingham.  By the time of his debut concert as a soloist in London, the Times mentioned that “The Italian artistes (sic) who have been associated with Bottesini speak in the most enthusiastic terms of his abilities as a music director and conductor of an orchestra”.

He was, during this period, at the height of his career as a soloist. He did not have an official post as a conductor until 1853 in Mexico at the Teatro Santanna.  There he helped to organize the Conservatory of Music, and was engaged as music director of the Opera by the great soprano of the day, Henrietta Sontag (the Countess Rossi), who died the following season in Bottesini’s presence.  He returned to Havana in 1855, and then in 1856 the post of Musical.

Director was offered him by the Theatre des Italiennes in Paris.  This was a highly prestigious post having had previous directors such as the great Rossini himself.

Bottesini used these opportunities as Musical Director to secure the performance of his compositions, and thus the premier of the Siege of Florence in Pans in 1856.  Soon after his arrival in Paris he was invited to the Tuilleries to perform before Napoleon the Ill had heard of the great success that greeted the concert-artist wherever he went. He was duly received in the ante chamber to the concert room by the grand master of ceremonies, Count Bacciocchi; who asked him hundreds of questions about his instrument: how it was made, its size, harmonic qualities etc..  All of this left Bottesini bemused until the question was asked “and is it empty or full. Maestro?”  At this. Bottesini almost burst out laughing until he remembered the recent attempt on the Emperor’s life by Felice Orsini. Controlling himself in time, he solemnly answered “Empty, empty, sir!”  Needless to say, he had the warmest applause at the court and this only served to bring him further to the attention of the public of Paris.

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