Domenico Dragonetti and his twelve waltzes: sexuality and the double bass
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Abstract
Venetian double-bass virtuoso Domenico Dragonetti (1763–1846) had a significant hand in establishing the double bass as a strong and capable ensemble and solo instrument. As with many virtuosos of his time, Dragonetti was often described by his associates as eccentric and bizarre. In fact, many aspects of his personal life seem enigmatic and strange. One of the least understood aspects of Dragonetti as a person is his sexual identity. He remained a bachelor his entire life and seemed not to pursue any sexual or romantic relationships. Instead, he referred to his double bass as his “wife.” To make sense of this sexual ambiguity, I have deployed contemporary theories on gender and sexuality in an attempt to unearth a more descriptive sexual identity for Dragonetti. Through analysis, I argue for a possible asexual and aromantic identity.
To explore the relationship Dragonetti had with his bass, I analyze what is believed to have been one of Dragonetti’s last compositions, a set of twelve unaccompanied waltzes for double bass. These compositions seem to have been very personal to the virtuoso and were only heard by a single, close friend, Vincent Novello. The waltzes seem to be private and personal engagements between Dragonetti and his “wife.” By analyzing the inner workings of these dances, I aim to gain a better understanding of Dragonetti’s sexual and romantic orientations as well as his relationship with his beloved double bass.
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2025