Adolf Lotter was born in Prague on 4 December 1871 and studied double bass with František Černý, and composition with Antonín Dvořák, at the Prague Conservatoire. He lived in London from 1894, until his death in 1942, and quickly established himself as one of the leading bassists of his generation, performing with many of the famous conductors of the day including Sir Henry Wood, Richard Strauss, Weingartner, and Sir Thomas Beecham. Lotter was a member of the Queen’s Hall Orchestra for over thirty years (1898-1930), becoming Principal Bass in 1911, and also played with the London Symphony Orchestra, London String Players, Guildford Symphony Orchestra, and Glyndebourne Festival Orchestra (1935-36).
In 1899 Lotter was appointed Musical Adviser and Editor of Hawkes & Son (London), who published many of his orchestral works and arrangements for the next forty years. He composed and arranged over seventy works for orchestra, military band, string orchestra, or piano, mainly in a light and popular style.
He lived in London from 1894, until his death in 1942, and quickly established himself as one of the leading bassists of his generation, performing with many of the famous conductors of the day including Sir Henry Wood, Richard Strauss, Weingartner, and Sir Thomas Beecham.
Lotter was a member of the Queen’s Hall Orchestra for over thirty years (1898- 1930), becoming Principal Bass in 1911, and also played with the London Symphony Orchestra, London String Players, Guildford Symphony Orchestra, and Glyndebourne Festival Orchestra (1935-36).
The Ragtime Bass Player is Adolf Lotter's most popular work for double bass and was composed in 1913.
The music has a charm that everyone will…
The Ragtime Bass Player is Adolf Lotter’s most popular work for double bass and was composed in 1913.
The music has a charm that everyone will enjoy and the four-bar introduction grabs the attention instantly. The opening double bass theme has a jaunty and playful counter-melody played by violins and piccolo which adds a great sense of fun from the outset. The solo melody remains in bass clef throughout making excellent use of the lower orchestral register of the double bass.
The music is lively, charming, and fun and would still be a great addition to any popular concert which wanted something to feature the bassists.
This edition works well with quartet or larger forces and the melodic material is shared between all four players. Bass 1 plays in treble clef but there are few technical challenges but much to enjoy. The Ragtime Bass Player is a light-hearted and fun piece which should appeal to players and audiences alike.
