Modi of Virtuosity in the Creativity and Performance Domenico Dragonetti (1763–1846)

The article reveals a change in the interpretation of virtuosity in the Baroque styles, classicism, and romanticism on the example of the inheritance of a prominent Italian performer on the double-bass and the composer Domenico Dragonetti. It is indicated that he was a contemporary and participant in the radical change of aesthetic ideals, artistic styles and, accordingly, the attitude of musicians and the general public to such a key category of musical art as virtuosity. It is indicated that the first modus of virtuosity, which was mastered by Dragonetti, was associated with the spiritual tradition of St. Mark’s Cathedral, and with the opera style of the Venice Theater, that is, it included the elements that they were conveyed in the work of composers of Venice from generation to generation and gradually modified. The second modus of virtuosity of the Italian smuggler is formed under the significant influence of the aesthetic ideals of Viennese classicism in his prototype Haydn and Mozart. This modus is characterized by a much more restrained interpretation of technical effects, their rational use, which is obviously fits into the ideal design of the classic shape. The influence of the powerful dramatic expression of L. Beethoven created the third modus of virtuosity D. Dragonetti – bolder, clearly more saturated than the previous “classic” style. In the end, the fourth last modus of the artist’s virtuosity reflected the aesthetic requirements of the romantic style.