Bass World

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Features: The Path: Peter Warren's Story

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Theodor Albin Findeisen (1881-1936)0 .. 17 Millennium Suite for Violin and Double Bass.. .. . . . . Married to the Bass .

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ABOUT THE A R T I S T - - - - ABOUT THE COVER ARTIST: This issue's cover artist is Sandra Muzzy. She lives in Bloomington, Minnesota, where she indulges her passion for painting and teaching watercolor. She is the past president of the Minnesota Watercolor Society and has exhibited her work widely. She was inspired to paint her daughter, OliviaRose, after sitting in on numerous bass lessons, rehearsals and recitals. Sandra was captivated not only by the sound of the bass but also its curvaceous lines and superhuman size. She has since sketched many images of musicians, but basses and bass players remain a favorite subject. Sandra was recently invited to sketch and paint members of The Minnesota Orchestra, and her work has been featured on two program covers for the orchestra. Sandra Muzzy can be reached at (952)854-7677 or at [email protected].

Volume 29, Number 1

1

Some years ago I performed in New York City in a small alternative music venue. I did my thing and after the gig one of my musician fliends came up and said, "Wow, man, I really enjoyed your show." I was, I must admit, taken aback by "your show." It had been a good number of years since I'd in the US and r d missed this evolution in the local lexicon. I thought that I'd a concert. Hmm, what's going on here? In n1Y obviously outdated vocabulary, a show was entertainment and a concert was something else. It had not been my intention to come to New York to entertain my audience, to perfonn a show. And this little incident got me thinking about an the ways music is used in our culture, about live music versus '" ,,-, I , ' , ' , . , 11.1 I

music and about the entertainment factor. For young bassists today, with their hearts and ears full of music, it's a cOlnplicated world out there. Learning about the music industry, the music business, with an its various levels, is a real task. And then to situate oneself in that reality is also a very complex undertaking. Most of us start out wanting to play for to live music. But too often there's not enough money by our live activities to provide the material basics we need to live. In that case, what's the solution? Obviously there are lnany possible solutions, and each of us has to ure it out individually. Looking back at my 45 years of professional what I've discovered is that it doesn't really matter what kind of tnusic you Any kind of music can touch and make them different. Our task, no matter the kind of lllusic we're is to put our hearts into it, because it's our passion that comes over to our listeners and touches them. Pre-recorded music is used in so many different ways: to unite us in group activities (sporting events, parades, rallies, lnilitary events, religious ceremonies); us with an environillent to do our thing (parties, relaxation sessions); (in body and tnind healing); stimulate (in and animals and on the work site); as sound (in the home, in elevators and buildings, in stores, at the mall); as (in film" in video, in theater); and to sen to our (CDs, tapes, DVDs). It can or replace live mances. When the feeling and the sound are right, plants grow better ,md people feel better. Playing for a microphone and a producer in a studio can seem like a cold but if we put our hearts into it, it can really work. Those good vibrations can travel over electric current. Perfolming fun tilne in an orchestra, recording jingles in a studio, playing nights a week a bar or touring for lnonths on end with no off, these are aU very demanding careers. But when we accept these jobs, we must 'work hard to deliver the goods, to send out our heatis, as regularly as No lnatter whether we are sick, dissatisfied with the boss, unhappy about the working conditions, or whatever negative forces may be at work around us, when it's time to and none of that matters. Then only music matters, and we must give it our best and put our hearts into it. Idealistic? absolutely. Um-ealistic? No. We must find the strength to deliver the goods under almost any circumstances. And at the same time, life filay often to have other for us than what we were counting Oll, or striving for. that my desires or efforts haven't detennined the kind of music over Iny That's always been decided by the telephone. But the wonderful musical adventures and encounters that I've had in IllY life have happened thanks to the sound that comes out of my instrument. Nothing less, nothing lllore. And there seenlS to be a definite correlation between how lnuch of me I can put into my sound and how often the phone lings. Be it entertainnlent, recording or through the latest results of nlY ongoing search for every sound that lives in the bass, step one for me is to make sure that my head and lny heart are functioning. If they are working conectly, then my body can do the job.

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International Society of Bassists

Volume 29, Number 1

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JoiUle Morton, Editor

I am writing in response to Barre Phillips' President's Corner column regarding the use of tuners [Bass World 2004 28, no. 2]. At the very beginning of the column, Mr. Phillips makes an assumption that I would challenge. He says, "When I see a bassist tune his instrument by eye rather than ear, I shake my head and quiver, just a little." Well, I am one of those bassists who uses a tuner, and I can assure Mr. Phillips that I use my eyes, my ears and my brain when I tune and, indeed, throughout my entire practice session! I would like to say that I love using a tuner, and explain some of the reasons why. First, I offer some background. I tuned using harmonics for more than 25 years and only started using a tuner about five years ago, though I now wish I'd gotten one sooner. I am an orchestral player, so when I tune with my tuner, I am tuning to the same A440 that the oboist uses. When the oboe gives me my "A," I check my strings (using harmonics), and usually I am in tune. If not, I only have to make minor adjustments. I am done tuning in no time at all. Also, I like the fact that my strings are starting out at the "same point" each time I tune. It's much easier to adjust my pitch if I need to do so. What I find the tuner most valuable for is generating pitches. I have found from experience that if you play something enough times, your ear will begin to accept it as in tune, even if it is not. So I will practice a piece of music with the root, third, or fifth on in the background. If I have a particularly difficult shift to practice, I will set the tuner to the arrival note. Practicing this way has

LETTER TO THE EDITOR really helped me to develop my sense of pitch and to play more in tune. Another way to explain this concept would be to use the following analogy. If I asked you to make a circle using only paper and scissors, you could probably do a pretty good job. However, if you held that circle up to one made using a compass, you'd see all the places where you were a little off. Practicing with a tuner keeps me "honest" in the practice room. This then makes it easier for me to match pitch in my section and to blend with the rest of the orchestra. Ultimately, time will determine whether tuners will become accepted tools of the trade. Some bassists will find them helpful and use them, and I say "bravo" to those bassists. And there will also be bassists who don't find them helpful. To those bassists I say "bravo" as well! Rather than opine that bassists who tune with tuners are missing the boat, I would suggest that we are taking different boats to the same dock. Respectfully submitted, Regina Barrett

Regina Barrett resides in Middletown, PAwith her husband Patrick (who is not a musician) and their two dogs and one cat. She plays with the Harrisburg and Reading Symphonies, freelances, and teaches bass.

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The Online Journal of Bass Research www.ojbrllcom The ISB's Online Journal of Bass Research (OJBR) is a scholarly electronic publication, accessible free of charge at www.ojbr.com.This refereed publication is published biannually as a means of fostering and communication original scholarly reseqarch pertaining to the history, development, function and features of the double bass and other related bowed bass instruments, their players and repertoires. The ISS is pleased to announce the release of Volume 2, # 1, which presents Shanon Zusman's critical review of the book, Studies in Italian Sacred and Instrumental Music in the 17th Century (Burlington, VT: Ashgate Publishing Co., 2003) by Stephen Bonta. for those researching the early history of stringed bass instruments, including the earliest incarnations of the violoncello, bass viol, and double bass, Sonta's more than 35 years of research is among the most important and oft-cited. The Ashgate book is a collection of sixteen of Bonta's essays, ranging from his first publication in the Journal of the American Musicological Society (1967) to his most recent article from the symposium Sarocco Padano (2002). Also still available is the OJBR's inaugural issue, Volume 1, #1, which presents Michael Greenberg's ground-breaking article, lIThe Perfect Storm: The Rise of the Double Bass in France 1701-1816."

Call For Manuscripts Original manuscripts reflecting a high quality of scholarship are invited for consideration from scholars and practitioners in a wide variety of arenas and disciplines relevant to the double bass or related instruments.. Topics may be presented from any number of different perspectives or disciplines, such as historical musicolo-

gy, performance practice, pedagogy, lutherie, iconography, biography, and/or analysis, and may deal with subjects stemming from any period in the instrument's history up to the present. Further

guidelines are available at www"ojbr..com .. To submit an article, or for more information, please contact the ISB office at [email protected] .

View the website at wwwllojbrllcom"

Volume 29, Number 1

5

By

Chuck Traeger

AManual for Players. Makers. and Repairers

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By JoiUe Morton

A number of years ago, there was an excellent article called "Careers for Cellists in the 21 st written by Jonathan Kramer and published in the ASTA (Autumn, 1992). In this alticle, the author performed a very interesting test. He counted up a total of approximately 1,500 salaried, full-time jobs for cellists in the US, the orchestral positions that paid $15,000 a year or more, plus all of the academic positions listed by the Music Then he contrasted that with the actual number of cello students who would be graduating from colthat year: at the time, there were 180 cello perfonnance at Indiana alone. Kramer concluded that: "Our and conservatory system is turning out some of the world's finest cellists, sensitive artists with a command of the instrument who beautifully. However, for those who want to devote their lives to the art and at the same time earn a livby it, the future is uncertain... How can accommodate aU of those cellists?" Kramer have taken his a step further that most of the full-time jobs for cellists are and that it is a handful of positions that even become available each year, not for graldwatlrlg cellists, but also for who are out of school and un(~mololve(:1. and cellists who are to find better PO:SltIons. It should be self-evident that this problem is not limited to cellists. f-\ 1I1E{ JIB!! 1 it is difficult to come up with accurate numbers, there is a similar for musicians of all types, even fewer, on the instrument. For bassists, jobs can be few and far between. Orchestras, after aU, a mere handful of and may not post vacancies for years on end, until someone retires after a full lifetime with the ensemble. Not are there few full-time chamber music and solo po~;lt1()ns for bassists, but many bassists as .......-._ emID1()Vees. whose and benefits are based on the number of students teach. It is a sad fact that many qualified, and even double bassists may never find the kinds of salmied, mainstream for which they are trained. Double bass teachers and their students are, out of necessity, having to be creative to find solutions to this pJl.'-''l.. But let's assume for a moment that one does find a vacancy, pass the audition/interview with colors and land the job. Has anyone else out there noticed that most positions these days are not "full-time" work? In his Kramer optimistically included orchestral cello that paid as little as $15,000 a year. Can a person survive on that salary, let alone support a family and save for retirement? Many orchestras employ musicians only on a 1)nQ:io, Rtmtl1J!'(fl Hungarian Gypsy Music tric bass for a while Sr!PR()W'~ TIZ~.A}mtIP()mt with guitarist Danny Hgs On Bass Kalb's band Blues Af»J~,tt CIm'ltlr, Etzw.gJl'ojpH Project II. Kalb, he Two Swing Trios Tale, ~ ]jfOIb'IJ]jfW lJ!H~ says laughing, "had the Sel'ld $IS per set + $4.50 shipping (USA ordes), reputation of being the orvis!t website forcmier mfoJl11'1.aticm, MP$'s mdscole samples. fastest guitar player For in1ematioml shipping charges around - and also the e:rnaB info@:msschurclt.cmn But, as loudest!"

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Volume 29, Number 1

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Peter Warren with Jack Dejohnette

session buddies, bassists Dave Holland, Jamie Faunt and Glen Moore, and drummer Steve Hauss. The intent was to record their free playing-one side of the record (LP) was going to be acoustic basses, and the other side electric. Of the electric bass material Warren

says, "I've got the tapes somewhere... that was interesting as well," however, when the album was released, only the acoustic material was used. At one point in the session, other musicians dropped by and joined in, including pianist Chick Corea, saxophonist John Surman, and drummer Stu Martin. Warren's roommate Barry Altschul also snuck in during Subra Har, an Indian-influenced piece, and began tapping on the side of Warren's bass as if he were playing tabla! Warren remembers this session, "We just listened to each other. The whole idea of free music is to listen. That old thing about less is more is absolutely true. We had to make music and stay out of each other's way and everything was going to be fIrst-take, roar as it is, if it's out of tune, it's out of tune. The whole idea was to make it work, play this music and make it work. And many times it failed, but the times that it worked it was so special! That record not only got a five-star review in Down Beat, but bass players were listening to it! And some of them were saying 'these guys can't play,' but other guys recognized that there was something going on here." "There are several free jazz players who really do play noise, but I could never figure that out, at some place it must cohere. But in

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International Society of Bassists

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some types of free jazz playing that's not the idea- the idea is not to blend. I guess because of my background I wanted it to fit together somehow. And Bass Is is a very good example of that, because at some place in each one of those pieces it blends together. Everybody gets on the same wavelength." Shortly after the Bass Is session, Warren and his (now) wife went to Europe. Originally Europe was going to be a stopover on the way to India to find a guru. But while in Italy, Warren heard, and was so moved by, a group called The Trio, which he says "was the band in Europe at the time." Barre Phillips, saxophonist John Surman and drummer Stu Martin were The Trio, and he followed them to Belgium, where they were living. "As soon as I got to Belgium," recalls Warren, "and started to hang out with the guys, they got me my fIrst gig, and it was the Baden-Baden Free Jazz Festival. And there was Dave [Holland]; Johnny Diani, great African bass player; Steve Lacy; Don Cherry. Steve Lacy did a thing with PM radio, he'd put on this static, let's play with this, right? [laughs] So for me, I was never subjected to any of that stuff before, and yeah, I liked it." At this point Stu Martin said to him, "You don't need a guru, you need to play music!" So that is what he did in Europe for the next five years. During this time Warren got to know Barre Phillips, "I had heard Barre in New York, of course. I knew who he was, but I had never met him. [He is] a very special guy who really helped me immensely, and not only with gigs and stuff, but as a mentor. Just listening to his stuff when he would play alone in his house was inspiring because you'd say, 'Wow, OK, I can do that. The bass can do that? Wow ... ,,, Warren stills plays an Otto Rubner bass (c. 1950) that was given to him by Barre during that stay in Europe. Barre's influence on Peter Warren was great, but after returning to New York and joining Jack DeJohnette's band, Warren found what he calls the biggest influence on his bass playing. "I was very fortunate to play with Jack DeJohnette. I think I learned more in the times that I spent with him than in my lifetime about what a bass player is really [for], what is your job, what are you supposed to do, what is your responsibility. And you have a responsibility. If you're going to be playing with other people, there's a responsibility as a bass player that you have to assume. I always say get with a drummer. If this is the kind of music you want to play." [smiling] "Let him think he's the boss, that's

OK. Let him think he's in control. What I learned from Jack: time is like a flying wedge that's always going fOlWard. If you listen when Dave Holland plays time, he's so on top of the beat, yet he's not rushing. And it's that on top thing that propels it fOlWard. Playing with drummers and really listening to what they're doing is where you learn that. And I played hours and hours with Jack alone, just the bass and the drums." Warren also says, "Jack DeJohnette [coined] the phrase multi-directional music, which I think really puts a nail on it, in that we are a product of all the things we've heard, and so somewhere in the music that would come out." Warren played in DeJohnette's bands on and off from the mid-1970s through the early 1980s, and then worked with guitarists Mike Stem and John Scofield, among many others. With Scofield, DeJohnette, trombonist Ray Anderson and saxophonist John Purcell, Warren recorded, Solidarity (see sidebar). So where is WatTen on his serpentine path now? He currently lives in New York City with his wife, TV Producer Arlene Shennan, and their two cats. While recovering from a bad fall several years ago, Wan'en said he had "had time to think. I've had so many rewards

with music, I have to give it back somehow, the best way I can. As bassists, when we get to a certain level, we're obligated to pass on whatever we've learned to the next set of bass players. We have a term called 'the cats,' well, the cats of my generation are all passing away. I'd like to give this information that I have. I'm a great coach. I like workshops. I like interaction, I fmd that a lot of musicians today, because the technique comes so quickly they're somehow missing something. There's a growing process that perhaps is missing." "I've been fortunate enough, I've had such great karma musically, in that I did the cello thing and took that to where it was going to go, I did the pop music thing, the rock thing and took those to where they were going to go, and then I went into the bass and took that to where it was going to go, and stayed there. So I'm a happy camper with what has happened in my life. And I've always been a student. I feel if you are a master, then you have a real obligation, [laughing] and who wants that? The evolution of bass playing for me, was the classical influence, because I was a cellist first, and the idea to make everything sound beautiful when you can is it. The bass is a voice that's come into its own. I

think what happens is we become people pleasers; we want to play what people want to hear, and sometimes that limits you from playing your own voice... I think, for me, I've been fortunate enough to have been associated with people who let me play my own voice."

Peter Warren Partial Discography: Under his own name: Bass Is (Enja) Solidarity (Jappo)

As a sideman: Tin Can Alley (ECM) Special Edition (ECM) Cosmic Chicken (Fantasy) 13 and 3/4 (Watt) Trinity (Enja) Spontaneous (Enja) This Way Out (MPS) Interchange (MPS) Going To The Rainbow (MPS) Open Strings (MPS) Donna Lee (America) Twet (Polski) Vibrations (Enja) Live From Donaueshingen (Phillips)

Volume 29, Number 1

15

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International Society of Bassists

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Theodor Albin Findeisen (1881-1936) By Ture Damhus and Preben Fahnee

It is our impression that many double bassists today do not know of the latel9thearly 20th century German bassist Theodor Albin Findeisen, who was a Gewandhaus Orchestra double bassist, chamber virtuoso, composer, and the creator of a complete line of study material for the double bass extending to the highest level of virtuosity. His uniquely thorough and creative method books and technical studies deserve recognition in wider circles, as do his other compositions and his interesting opinions as aired in the articles in Der Kontrabass (a newsletter for the German Double Bassists' Association, published from 1929-1930). Not much seems to be known about the life of Findeisen, though he studied the double bass at the Konigliches Konservatorium der Musik in Leipzig l with J. O. Schwabe from 1904-1906. Schwabe was clearly fond of his pupil, since he inscribed Findeisen's graduation diploma with the words: "Herr F. participated in my teaching on a regular basis, is very talented and was my most hard-working student. His technique on the double bass is excellent, and to his clean intonation he adds a beautiful, full tone. He played solo pieces twice at the institute soirees with great success." In 1922, Findeisen became a bass professor at this conservatory himself and he also held a position as a member of the esteemed Gewandhaus Orchestra (in Leipzig) from 1907-19362 • He died quite suddenly on March 3, 19363 • Other than this very limited biographical information, we have not found much mention of Findeisen in history books; he is mentioned only in passing by Alfred Planyavsky (1970, 1984) and Paul Brun (1989, 2000) for the variant of the German bow frog named after him, and for a couple of the statements published in Der Lehrer des Kontrabafi-spieles (his method book). However, in our attempt to uncover more information about this elusive bassist, we have had the pleasure of corresponding with two of Findeisen's former

students: Arno MUller and Erich Hartmann 2 • Hartmann has been a double bassist in the Berlin Philharmonic and is a composer of numerous pieces involving the double bass. MUller describes Findeisen as a kind-hearted man and a successful pedagogue. Hartmann agrees, adding that he was serious and tolerated no laziness. And lessons were always interesting, for Findeisen would improvise accompaniments at the piano while students played. In Findeisen's days, European double bass playI ing was influenced by three quite clearly defined and different traditions: Italian, French and German-Czech schools. The latter of these may be said to have had three hubs, in Prague, Vienna and Leipzig. As a teacher, Findeisen initially used the Simandl Method and he also edited the Storch-Hrabe etudes. As already mentioned, he was a Portrait ofFindeisen, now located in the Gewandhaus Orchestra archives, student of the Leipzig con- kindly provided by Hans-Rainer lung. This is a copy ofa portrait that hung in the double bass room of the Leipzig conservatory for many years, as servatory and later taught confirmed by Arno Milller. (It was still there when Preben Fahn¢e visited there himself. Thus, he was the conservatory with the late Gewandhaus bassist Konrad Siebach in clearly influenced from all Leipzig in 1989.) three parts of the GermanCzech school. In spite of having access to materials the bass world. Because so few of his from a variety of schools, Findeisen must materials are known to players these days, have desired more teaching materials and a we therefore concentrate our article on a different approach to bass playing in gener- discussion of two of his major works in al, for over the course of his career, he com- this area. posed an impressive series of tutors under the heading Der Lehrer des KontrabafiDer Lehrer des KontrabaBspieles, 25 technical studies and a number spieles of regular solo pieces for the bass. A systematic list of these is provided in the sumThe Lehrer des Kontrabafi-spieles mary at the end of the article. Note that not method book is in five parts, and along with all opus numbers are represented in this list- the technical studies introduced below, it is ing; we have been unable to determine what almost certainly Findeisen's most impressive contribution to the bass literature. all the remaining numbers cover. Undoubtedly, pedagogical material was Intended to "reform" bass pedagogy, Findeisen's most important contribution to Findeisen was very ambitious and envisaged Volume 29, Number I

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Kontrabass, in which nobody was spared, neither the "hectic coffee fiddlers and other so-called artists with their overtly trembling vibrato ," nor the orchestral conductors who ask for vibrato from a bass section in situations where he felt they should understand that this may compromise a focused tone quality and clean intonation. Other interesting aspects to Findeisen's approach are his strong aversion to open strings and his warnings against using extensions (the four fingers system) because of the strain it puts on the hand and the intonation problems that ensue (of course, instruments and strings were different then). Findeisen's language is colorful, sometimes harsh. When the preface to Der Lehrer was printed in No. 4 of Der Kontrabass, Findeisen declared: "This method is dedicated to all bassists with deteriorated hand positions, poor bow management and lack of knowledge of positions (95% of all bassists)"! The first volume of Der Lehrer mentioned both Italian, French and German bow grips. Unusual today, the French grip is shown in a photograph where the thumb is placed on the bottom planar surface of the frog. Findeisen explains that he advocates the German grip, based on many years of experience with both French and German grips and careful analysis of the anatomical implications of both ways of holding the bow. In a separate article in Der Kontrabass, however, Findeisen argues even more forcefully and passionately in favor of the German bow grip, using language that implies it is almost the moral duty of any good German bassist to play the German way! His passionate article on this subject came as a reply to an article by the composer and former bassist Hans Hermann, who also after having also tried both ways of playing was entirely in favor of the French grip. Findeisen s graduation diploma from the Leipzig conservatory, courtesy of Hans-Rainer lung.

The 25 Technical Studies that the books would accompany bassists throughout their careers (apparently assuming that was not the fate of earlier methods). In the preface, he stresses the following two aspects as the most important ones distinguishing his method from its predecessors: 1) Teaching a clear sense of positions on the fingerboard. (There are fingerings here and there in the books, but more often just indications of positions.) 18

International Society of Bassists

Findeisen by the way advocates an energetic technique for the left hand. 2) Playing with an explicit strategy for bow division (how much bow to use and which parts of the bow). In the method, Findeisen also gives detailed suggestions for how to practice vibrato and when to apply it. Vibrato was evidently a pet-peeve for him, since he also published an article on that subject in Der

In the preface to his publication of the 25 Technical Studies [in the original printing of the studies, where-remarkablyan English translation was also provided; though no preface is included in the modem International Music Company reprint], Findeisen describes the development towards more technically demanding orchestral parts that necessitate the creation of new study material for bassists to perfect their technical command of the

instrument. His technical studies are thus intended to enable the bassist to "master even the most difficult parts of modern orchestral literature" . Each technical study is composed as a 16-bar theme (A-B fonnat, 8 bars each) followed by variations or improvisations on the theme, however, keeping the rhythm and styIe of the original theme. The studies grow longer and longer over the course of the series, ending at a length of 3 to 4 pages. Along the way, various meters are explored: 3/4,4/4,9/8,12/8 and Findeisen also fulfills his goal of exercising all keys, including Db major, P# major, etc. Musically and technically, these studies are very accomplished. In contrast to many other technical studies, one never becomes bored while practicing the ones by Findeisen. This is in accord with Findeisen's own proclamation in the preface to Der Lehrer that we must get away from "idle running" when practicing on the bass. by Findeisen Some of the advice in the preface may be outdated in that it was influenced the state of the art with respect to particularly the gut or metalwound gut strings of the time. For examhe advises players to tune the bass in solo tuning: F#-B-E-A in order to produce a "more forthcoming and less tiring sound for the ear than the original tuning ," but to ensure the player can handle the string tension physically. He again also cautions that the use of extensions in the left hand should only be used by "advanced players with a big hand," otherwise they cause problems playing in tune.

Findeisen's music~ we only have references to a couple of recordings. Notes 1) Today called the Hochscule fur Musik und Theater "Felix MendelssohnBartholdy." We would like to thank Christine Peich and Maren Goltz from the conservatory's library for their assistance with research on Findeisen in their archive. 2) Findeisen auditioned for the 'second position as principal double bassist' in1906, together with A. Starke and M. Schulz~ Starke won the position, but left the orchestra in 1907 and Findeisen replaced him without re-auditioning. Hans-Rainer lung has provided us with some interesting excerpts from the correspondence in the orchestral administration entailed by these events. lung is a violinist in the Gewandhaus Orchestra who is currently working through various official archives containing information about the orchestra (which dates back to 1743 and has employed about one thousand musicians since then!). The private archive of the orchestra unfortunately was lost in a fire during

the Second World War. Claudius Bohm of the present-day Gewandhaus archive kindly introduced us to lung. It was lung who then led us on to Arno Milller, who again pointed to Erich Hartmann as a useful source. 3) Hartmann has sent us copies of the touching newspaper notices about Findeisen's death sent in by his wife and children, by the conservatory and by his orchestra colleagues. His all too early passing was clearly felt as a genuine loss.

Literature List:

Po Brun: A history of the double bass [published by the author in English translation, 1989] Po Bran: A New History ofthe Double Bass [Paul Bmn Productions, 2000]. Ao Planyavsky: Geschichte des Kontrabasses [Hans Schneider, 1970]. Mo Grodne..: Comprehensive catalog of music, books, recordings and videos for the double bass [4th edition, 2000, volume l~ Grodner Publications]. This catalog registered all the lnusic below except the first concerto.

Cmasing remarks With his method, his teaching and his work as a performer, Findeisen contributed tremendously to the development of the German double bass tradition. His influence would undoubtedly have been much broader if it hadn't been for his untimely death and the war (WWII) , which interrupted the distribution of his music and method books. Our search has not, unfortunately, been able to yield a full inventory of all of Findeisen's music. If others were willing to complete the catalogue of his works and work towards republishing all that is out of print, it would be a most worthwhile enterprise. It would also be interesting to create a discography of

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Volume 29, Number 1

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Highlights of Findeisen's Production As well as providing a list of Findeisen's compositions and articles, we have tried where possible to list the names of the modem publishers for these editions, so that interested readers may obtain copies of the works. Some of the music is classified as out of print or is only registered as published by C.F. Schmidt, Heilbronn (a publishing house which does not exist under this name anymore).

Karnevalszene, opus 12, published by C.F. Schmidt, Heilbronn. Konzert No.1, opus 15 [with piano accompaniment; but orchestra parts were available upon request to Findeisen himself], published by C.F. Schmidt, Heilbronn. Elegie (Am Grabe des Freundes), opus 19, published by C.F. Schmidt, Heilbronn.

Teaching materials Der Lehrer des KontrabafJ-spieles-eine Grundschule fur die hohere Lagen-, Bogen- und Fingertechnik. Basic method book for the higher positions, bowing and finger techniques; 5 volumes, each approx. 50 pages. Published by F. Hofmeister, HotbeimfTaunus and Leipzig; fIrst volume copyright C. Merseburger, Leizig, 1930, last volume, 1938; later, in English by International Music Company, New York, and by M. Baron, New York, as Complete Method. Findeisen did not live to oversee the publication of the two last volumes; this task was undertaken by his orchestra colleague of 30 years, Max Schulz. 25 Grosse technische Studien fur KontrabajJ durch aile Tonearten zur Einfuhrung in die moderne Rythmik, Harmonik und Vorlragsweise, opus 14. 25 technical studies, in 4 volumes, originally published by C.F. Schmidt, Heilbronn, later republished (except for the prefaces) by International Music Company, New York. Konzert-Etiiden fur KontrabajJ 20 studies for double bass by Storch and Hrabe, edited and published by Findeisen; later published as 57 Studies for String Bass, by International Music Company, New York.. Emanuel Storch was a fme bassist of the Prague school who played in the Gewandhaus Orchestra from 1859-76. He brought these studies by his teacher, Josef Hrabe. Solo pieces (double bass with piano) Nixenreigen-Fantasie, opus 9 [Nymphs' Round Dance Fantasy], published by C.F. Schmidt, Heilbronn. Accompanied by a poem by Ludwig Ankenbrand (whom we now nothing else about) and a nice picture of a bassist playing in the wood surrounded by nymphs. A copy of this picture was painted by A. Miihleisen in 1943 and presented by Findeisen's successor Max Schulz to his former student Arno Muller as a wedding gift. The original was an oil painting by a painter by the name of Mirwald. The order of creation of the poem by Ankenbrand, ·the fantasy by Findeisen and the painting is not known to us or to Muller, who commented that it could well have been a collaboration with the painter; Findeisen was a man with a good sense of humor. The copy painting was donated by Arno Muller to the Danish Double Bass Society.

Ture Damhus is a chemist by training (and serving as such in his daily job), and an enthusiastic bass amateur. He co-edited Bastidende (the magazine of the Danish Double Bass Society) with Preben Fahnr/Je for 12 years and has also served as international representative on the ISB board of directors.

20

International Society of Bassists

Konzert No.2, opus 25 [in 1 movement], published by C.F. Schmidt, Heilbronn and Leipzig. Note: In a talk given at the bass convention in Mittenwald in 1991 ("Die Bedeutung der Prager Schule fUr die Padagogik des Kontrabass-spiels"), M. Gajdos indicated that there are three concertos by Findeisen. But we have not been able to obtain any additional information on a third concerto. Double bass and violin Romantische Suite, opus 10, published by CF. Schmidt, Heilbronn [Grodner (2000) also mentions a version for piano and double bass.] JS.Bach: 10Inventionen [arranged for double bass and violin, with fmgerings, by Findeisen], published by C F. Schmidt, Heilbronn. This music was kindly provided to us by Erich Hartmann. Miscellaneous Compositions Quartettsuite fur 4 C eili oder Kontrabiisse, opus 26, published by C. Merseburger, Leipzig.

Kadenz zum Simandlkonzert, opus 34, published by C.F. Schmidt. Articles l ) Das Vibrato 2) Eine Reform der Padagogik des KontrabaBspiels 3) Deutsche oder franzosische Bogenfiihrung (2 articles) Mein werk 'Der Lehrer des KontrabaBspiels' 4) 1) All articles in Der Kontrabass, a newsletter for the German

Double Bassists' Association; only 5 issues published in all, in the years 1929-1930. 2) Also appeared in Heft IV of Der Lehrer des KontrabafJ-spieles. 3) An introduction to Der Lehrer des KontrabafJ-spieles, which was offered at a favorable subscription price to the association ine~bers in no. 3 of Der Kontrabass (November 1929). 4) lightly revised version of the preface to Der Lehrer.

Preben Fahnr/Je is a professional bassist and guitar player in classical music as well as jazz. He holds a degree in musical education from the Royal Conservatory in Copenhagen and has taught several generations of Danish double bassists and electric bass players. He has published teaching materials for the double bass and the

electric bass, most recently The Nordic Bass with Henrik Bjr/Jrn Rasmussen [Edition Wilhelm Hansen, 2003}.

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Volume 29, Number I

25

Married to the Bass By Robin Meloy Goldsby

In her memoir Piano Girl: Lessons in Life, Music, and the Perfect Blue Hawaiian, Robin Meloy Goldsby (© 2005 Backbeat Books [www.backbeatbooks .comJ. Excerpted by permission.) recounts the trials and triumphs ofher 30 years as a working musician. Along the way, she devotes a chapter to the joys of being married to a bass player. In Robin s case, that happens to be solo artist and WDR Big Band bassist John Goldsby. Okay, Ladies, listen up. Bass players make great husbands. There is no scientific data to support my claim. But having worked my way through the rhythm section, the technicians, and a handful of brass, reed, and string players, I'm a qualified judge. First, consider this. A man who plays an upright bass is strong. He lugs the instrument around, carries it up steps, slides it in and out of cars, and maneuvers it through large crowds of people. If you marry a bass player you'll be getting a physically fit husband. Okay, there is the occasional back problem. This crops up two or three times a year-usually when you want him to move your grandmother's walnut armoire or need him to stand on a ladder and drill a hole in the ceiling. But you can cope with such minor inconveniences by calling a muscular clarinet player who is handy with a power drill. Good luck finding one. Here's the thing: When your bass player is pain-free, he's as strong as a bull. He has to be in order to make the gig. And he might even throw you over his shoulder and carry you over the threshold every so often, just because he can. Next, ponder the shape of the upright bass. It's shaped like a woman. A bass player knows about bumps and curves - he even likes them. He has dedicated his life to coaxing beautiful music out of voluptuous contours. He'll do the same for you. Just don't marry a stick-bass player, unless you look like Kate Moss or intend to spend the rest of your life eating lettuce. Examine the bass player's hands, especially when he's playing a particularly fast passage. Now imagine what those fingers can do to you. Enough said. A great bassist is an ensemble player, a team member who executes, with confidence,

a vital role in any band with the strength of his groove, the steadiness of his rhythm, and the imaginative logic of his harmonic lines. This doesn't just apply to the bassist's music. It also applies to his outlook on life. A bass-player husband will be loyal, true, and interesting, and will help you emerge from life's challenges looking and sounding better than you ever imagined. If you're in a bad mood, don't worry. He'll change keys. On the other hand, if you marry a pianist, he'll try and arrange everything and then tell you what your disposition should be. If you marry a guitarist, he'll try to get ahead of you by analyzing your temperament in double-time. If you marry a drummer, it won't matter what kind of mood you're in because he'll just forge ahead with his own thing. A bass player follows along, supports you, and makes you think that everything is okay, even when the world is crashing down around you. There are some minor drawbacks. You need to have a house with empty comers, especially if your husband owns more than one upright bass. I know, you have that newly reupholstered Louis XV chair that would look fabulous in the comer by the window. Forget it-that's where the bass has to go. You can come to terms with these trivial decorating disappointments by reflecting on the sculpture-like quality of the instrument. Even when it's silent, it's a work of art. If you have children - and you will because bass players make great fathersyour most frequently uttered phrase will be "WATCH THE BASS!" You willieam how to interject this phrase into every conversation you have with your children. For instance: "Hello, sweetie, watch the bass, did you have a nice day at kindergarten? We're having rice and broccoli for lunch, watch the bass, do you want milk or water to drink?" You will be doomed to a life of station wagons, minivans, and SUVs. You might harbor a secret fantasy of zooming around town in a Mazda MX5 convertible, but this will never happen unless you go through a big messy divorce, give your bass-player husband custody of the children, and marry a violinist, which would be no fun at all. Better to accept the hatchback as an integral part of your existence and get on with it. Any trip you make with your family and the bass will be a pageant that requires

Robin Goldsby

detailed organization and nerves of steel. In addition to your two children (one of whom probably wants to be a drummer-heaven help you), you will commence your journey with suitcases, bass, bass trunk, backpacks, amp, car seats, strollers, and diaper bag. Your husband, weighted down with an enormous backpack and a bass trunk the size of a sub-zero refrigerator, will leave you to deal with everything else. As you try to walk inconspicuously through the airpolt terminal, people will point and stare. First Spectator: "They look the Slovenian Traveling Circus!" Second Spectator: "Hey buddy, you should have played the flute!" Things like that. You will learn how to say ha, ha, ha, stick your nose in the air, and pretend that you are traveling with a big star, which of course he is, to you. Your bass-player husband will know the hip chord changes to just about every song ever written in the history of music. This is a good thing. Just don't ask him to sing the melody. He might be able to play the melody, but he won't sing it-he'll sing the bass line. And, if you happen to play the piano, as I do, don't expect him to just sit there silently and appreciate what you are playing without making a few suggestions for better changes and voicings. He'll never give up on trying to improve your playing. But that's why you married him in the fIrst place. He accepts what you do, but he pushes you to do it better. If you marry the bass player, you marry the bass. Buy one, get one free. Your husband will be passionate about his music, which will grant you the freedom to be passionate about the things you do. You might not worship the bass as much as he does, but you' lliove the bass player more every day. Volume 29, Number 1

27

CHILD'S PLAY

Virginia Dixon, Editor

The Bulgarian School of Bass Playing By Petya Bagovska In the center of the Bulgarian city of Sofia, at 94 Evlogi Georgiev, a street lined with beautiful chestnut trees, you will find the State Academy of Music, known by the name Pancho Vladigerov. With nostalgia, I well remember my student days, when on my way to lectures, music could be heard everywhere through the wide-open windows. I was so happy to go to my double bass lessons. Without even noticing it, I would make the climb to the fourth floor where my professor Todor Toshev taught. An outstanding musician, pedagogue and person, Professor Toshev established a Bulgarian school of bass playing and was renowned throughout the world. His musical teaching was unforgettable, imbued with much passion, and humor. During lessons, Prof. Toshev would stand nearby following with full concentration every note and movement of our hands. We were used to multitasking as we played and listened to his voice at the same time, giving us advice. After my own lesson, I would linger extra hours to listen to my friends and colleagues. The essentials I learned from Professor Toshev are twofold: the responsibility of my work as a pedagogue, and the importance of developing good habits and positioning in the student from the beginning. Holding the bass and the bow and playing with good muscular pressure with no tension in the hands is a solid basis on which to create technical skills, strong sound, and endurance. Prof. Toshev knew how to persuade you to love the double bass and to motivate you to do your most creative work. Thanks to him and Bulgaria's very fine musical traditions, many of us have since proven ourselves at national and international competitions. Seven of Bulgaria's largest cities have specialized music schools with excellent professional pedagogues on their faculties. Basic music education runs from first grade through a high school diploma, with an examination that includes solfege and individual instrumental performance. During the period from 1963 to 1980,

music schools offered early education on double bass, and at that time, small-sized double basses were manufactured in the Bulgarian factory, Kremona. Children between the ages of 9 and 12 years played these instruments; many of them were also members of a renowned children's orchestra, the Philharmony Pioner. Double bass is now only offered to kids starting at 12 to14 years old, by which time music students learn all required subjects as well as taking applied music lessons. At the end of seventh grade, examinations for high school are held and those accepted are able to continue their studies with two hour-long double bass lessons per week, in addition to two hours of chamber music Petya Bagovska and four hour sessions for orchestra plus all the regular classes, foreign language and mandatory hours per week of chamber music perpiano. At the end of each school year, stu- forming sonatas or other ensembles, as dents take an exam requiring scales, arpeg- well as orchestra, history of the double gios, etudes, cello suites by Bach, as well bass, methodology of teaching bass and as other solo pieces and concertos. After pedagogy, where the senior students actuhigh school the best ones apply to the State ally teach the young students from music school. Perhaps the most valuable part of Academy of Music. the program is the two hours of double In Bulgaria, in addition to the State bass lessons per week. One lesson is Academy, there are also two regional folkdevoted to scales and arpeggios in three lore schools and a national academy of octaves, technical skills, orchestra folk music and dance where one can study excerpts, etudes, and suites by Bach. The double bass. Anticipating and encouraging the pre-college music education in second one is for performing pieces and Bulgaria, there are competitions for instru- concertos with piano accompaniment. In mentalists in three age groups: 7 to 14 this way the students can prepare for their years old, 14 to 19, and 19 to 35. A very upcoming exams, concerts, and competipopular competition is the Svetoslav tions. For more than 30 years, Krastyo Obretenov, where Bulgarian music is pro- Kavlakov worked as the class accompagrammed. Over the years, this has helped nist. He has been succeeded by Bogdan to encourage composers to produce Stanev. Each year, the string department numerous new pieces. The most popular admits six new students of double bass. In Bulgarian composers who have written for the past, foreign students have been the bass are Emil Tabakov, Lazar Nikolov, accepted as well, with past students coming from Finland, Greece, South Korea Boris Karadimchev and Michael Pekov. The State Academy's double bass pro- and the Unites States. The course of study gram requires all students to have two is divided into two semesters, and in June Volume 29, Number 1

29

After graduation, students may go on to earn Masters degrees and the very best continue for Ph .Ds. During their course of study, bassists participate in the class meetings, concerts, and international youth orchestras. Many of them find solo opportunities with the professional Academy Symphony Orchestra performing concerti by Dittersdorf, Bottesini, Koussevitzky, and others. Professors Nikolay Nikolov and Georgi Velkov have been teaching double bass at the Academy for many years. As a pedagogue, I always look for new things with which to intrigue my students. Out of this searching arises my desire to write bass studies, articles, arrangements for double bass and my work to found different ensembles with four to eight basses. As their mentor, I try to include music from the Baroque through jazz eras. Performing together reaps excellent results, plus it is great motivation to

Petya Bagovska assisting a student

all students take double bass exams. The most common bow hold is French, but the German system is also represented.

work, and establishes a productive atmosphere. Playing in ensembles is a highly enriching experience. In 2000, my students and I performed as a bass quartet at the International Jazz Festival, in Bansko, Bulgaria. In the State Academy of Music we also have a bass club where we are organizing interesting events, concerts and master classes. To achieve excellent results in our work as pedagogues, I believe it is necessary to have passion, high professionalism, an individual approach to every student, but most of all, dedication and love. Petya Bagovska, PhD., is associate professor of double bass at the State Academy of Music in Sofia, Bulgaria. Her website is www.bagovska.comlbass.

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Bert Witzel, Principal Bass, The louisville Orchestra Bert Witzel began playing bass in high school when he attended the Baltimore School for the Arts. He was then accepted to the Curtis Institute of Music where he studied with Hal Robinson and Edgar Meyer. During his time at Curtis, Bert was an active freelance bassist in the Philadelphia area, performing with the Philadelphia Orchestra and the Philly Pops, among others. "I don't have a whole lot of experience taking auditions (this being my third audition) , so I don't think one has to have a whole lot of experience [in order to succeed]. What it really comes down to is how mature a player you are, and how much you have prepared. The mindset that I bring to auditions is not to worry about whether or not I will win the audition, or whether the committee will like my playing, or whether or not I'm going to mess up this passage or that passage, but to simply try to play the best that I can.

Jeff Turner, Editor

"My preparation for auditions has consisted of practicing around 4 or 5 hours a day, 6 days a week. I had mock auditions once or twice a week a month before the audition. In my practicing, I concentrate on the weakest excerpts at fust, while maintaining the other excerpts. Then as it gets closer to the audition I practice all of them equally. I always prepare as much as I can, because when I get to the audition, I never sound as good as on my best day at home. It is hard to do an audition because it is a new environment. You've never played in the hall, you sonletimes have very little time to warm up, and you only get five minutes to play in certain rounds. I always try to go for musicality in my playing, along with good, solid technique. You can have an edge by playing musically and showing the committee that you are a mature musician. Make a musical statement with your excerpts and solos: follow dynamics, use tasteful vibrato, come up with an idea of how you want the music to go, etc. When you have figured out what you want to do, practice it over and over so that you are prepared."

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INTERNATIONAL BASS CLUB DIRECTORY Felix Petit ACADEMIA NACIONAL DE CONTRABAJISTAS Conservatorio de Musica Simon Bolivar EI Paraiso, Caracas 1010 Venezuela Tel/fax +212-481-1441 [email protected] Esra Gul Atalay ANADOLU BASS CLUB Anadolu University State Conservatory Eskisehir, Turkey 26470 +222 335 05 80/6228 Fax +222 335 31 04 e-mail:[email protected] www.basscIub.anadolu.edu.tr Thierry Barbe ASSOCIATION DES BASSISTS ET CONTREBASSISTE DE FRANCE 22 rue de Champagne 94700 Maisons-Alfort, France www.contrebasse.com Sonia Ray ASSOCIACAO BRASILEIRA DE CONTRABAIXISTAS Escola de Musica e Artes Cenicas da UFG Campus II - Samambaia - Sala 205 Tele/fax +55-62-224-4264 [email protected] Mark Bernat BASS CLUB OF GEORGIA P.O. Box 49045 Atlanta, GA 30359 [email protected] Alana Dawes, President Katie McLachlan, Contact/Secretary BASSLINK AUSTRALIA PO Box 130 Belair, South Australia 5052 +61 88278 2016 [email protected] David Heyes BRITISH & INTERNATIONAL DOUBLE BASS FORUM P.O. Box 151 Aldershot, Hants GU12 7YQ United Kingdom [email protected] Petya Bagovska BULGARIAN BASS CLUB Hipodroma BI. 140, A, 12 Flat Sofia BUG-1612 Bulgaria +359/88-753-358 [email protected] www.bagovska.com/bass Sandra Grigorova-Bojkova BULGARIAN DOUBLE BASS ASSOCIATION j.k. "Bakston," bI. 17, vh.2, ap.30 Sofia, Bulgaria 1618 [email protected] Wei Bao Zheng CHINESE SOCIETY OF BASSISTS Flat 504, No.7 Fuxingmen South St. Beijing 100045, China Tel/Fax +86 09 79 92 [email protected] Miloslav Jelinek CZECH SOCIETY OF BASSISTS Komenskeho nam. 8 60200Bmo Czech Republic +420 5 43 24 28 05 [email protected] www.volny.cz/spol-kontrabas

32

International Society of Bassists

Ture Damhus Andreas Bennetzen, Chair DANISH DOUBLE BASS SOCIETY Livjaegergade 43, st. tv. Koebenhavn OE 2100 Denmark +45 35 26 49 83 Fax +45 44 42 42 33 [email protected] www.bass-society.dk David MUlTay INDIANA BASS CLUB Butler University - Music Dept. 4600 Sunset Indianapolis, IN 46220 [email protected] Miika Asunta FINNISH SOCIETY OF BASSISTS Helsinginkatu 42 A 29 00530 Helsinki Finland +358-45-6777842 Miika.Asunta@saunalahtiJi Gerrit Hamacher GERMAN SOCIETY OF BASSISTS www.geba-online.de Cheryl Ann Brent HOUSTON BASS CLUB c/o Rice University Shepherd School of Music 6100 S. Main St. MS 5321 Houston TX 77005-1892 Karoly Sam HUNGARIAN BASSISTS SOCIETY Zrinyi u. 26 Budapest, Hungary H-I028 +36 1397 1821 Fax +36 62 11226 Klaus Schroff KONTRABASS-CLUB DEUTSCHLAND Roermonderstrasse 289 Aachen, Germany D-52072 Phone and fax +49 241 515 18 17 www.lownote-musikverlag-schluff.de Chang-ho Kim, President KOREAN KONTRABASS ASSOCIATION P.O. Box 434, Seocho-Gu,137-604 Seoul, Korea +82-16-726-3721 [email protected] [email protected] www.kontrabass.com Nobuaki Saikawa KYUSHU BASS CLUB 2-23-24 Tsutsumi Jonan,Fukuoka 814-0151 Japan Tel/fax +81-92-873-7355 [email protected] Zoran Pavloski MACEDONIAN DOUBLE BASS ASSOCIATION ul. Naroden front 5-1-13 Skopje, 1000 Macedonia tel +38 970 388 284 [email protected] Peter Tambroni THE MANNHEIM BASS CLUB Westdale Elementary School Mannheim School District #83 99 W. Diversey Ave Northlake, IL 60164 tambroni @hotmail.com Jim Ferguson NASHVILLE BASS CLUB 210 Mayfair Rd. Nashville, TN 37205 615/297-7453 Fax 615/463-8747 [email protected]

Barry Green NORTHERN CALIFORNIA BASS CLUB 430 Crestridge PI. Santa Rosa CA 95409 [email protected] www.innergameofmusic.com Irena Olkiewicz POLISH DOUBLE BASS SOCIETY Rynek 4/8 WrocIaw 50-107 Poland Tele/fax +4871 3220 [email protected] Florian Pertzbom PORTUGUESE DOUBLEBASS SOCIETY Escola Superior de Musica e das Artes Rua de Alegria 504 Oporto 4000 Portugal +3512580774 Fax +351 1 528513 RICHARD DAVIS FOUNDATION FOR YOUNG BASSISTS, INC. 902 West Shore Dr. Madison, WI 53715 608/255-6666 Fax 608/255-5524 rdavis1 @facstaff.wisc.edu www.globaldialog.com/-rdavis Paul Erhard ROCKY MOUNTAIN BASS CLUB 3655 Emerson Ave. Boulder CO 80303 303/492-4918 Fax 303/492-5619 Ken Hustad SAN LUIS OBISPO BASS CLUB 470 Arcadia Ave. MOlTO Bay, CA 93442 805/772-1477 www.bassisLcom/bassi.htm David Humphrey SASKATCHEWAN BASS CLUB 1516 Lome Ave. Saskatoon, SK S7H 1Yl Canada Jennifer Sharp SCOTTISH BASS TRUST 6 West Garleton Haddington EH413SL Tele/fax +44 1620 82 25 32 [email protected] Martin Simpson SOUTH AFRICAN BASS CLUB PO Box 785189 Sandton, South Mrica 2146 [email protected] www.Bassplayers.co.za Josep QueI' Agusti, President Mrs. Matias Lopez, General Manager SPANISH DOUBLE BASS SOCIETY TClMontgo n° 1- 2°_3 a Figueres, Spain 17600 [email protected] Lynn Lovell, President WESTERN NEW ENGLAND DOUBLE BASS SOCIETY c/o Downtown Sounds 21 Pleasant St. Northampton, MA 01060 415/586-6538 [email protected] www.wnedbs.org

BASS

CLUBS

I've just got back from Bass Encounters in Vienna and am reluctant to put pen to paper, or finger to keyboard, for fear that analysing what made it work so well will dispel the wonderful cloud of audio and visual images which has been floating around my brain these last few days However, needs must. .. Why was the third Bass Encounters in Austria such a huge success? In my opinion, two things contributed in a major way. First and foremost was the sponsor, Thomastik Infeld. We all know the importance of sponsors. Sometimes our local government agencies are not enough (even though Lynn Lovell tells me that their grant is usually enough for the Western New England Bass Club to break even). David Murray had D'Addario Strings and Lemur Music to help him out at a recent master class in Indiana, and whilst Miloslav Jelinek and the Czech Bass Society have help with accommodation from the Janacek Academy they are already are on the look out for sponsors for their next event in 2006, as are we in Scotland. Though we readily acknowledge that we need the sponsors' money, do we really appreciate the other aspects that a sponsor can bring, and the two-way process of sponsoring? Wayne Darling and Helmut Frank seemed to be well aware of these things and because they were both totally involved in the process of organizing and executing Bass Encounters, it worked extremely well. Thomastik Infeld and Wayne Darling have a happy and fulfilling relationship, which is exactly how it should be. They understand each other's needs and both give to each other. On this particular occasion, not only did the sponsor lecture us on string science (which incidentally was a popular highlight of the three days), but they also entertained their friends and colleagues. How they did this leads me to the second contributor to success, the venue. This was a well known and popular night spot in the centre of the city which meant that a) Peter Infeld, the owner of the Thomastik Infeld company, could take along some guests each evening and b) a more generalist jazz audience was entertained not only by solo jazz bassists but also introduced to the classical repertoire and other styles of music. This would seem to me to be a bass event requirement. I expect that we at the Scottish Bass Trust are like everyone else in the bass world; we want to provide opportunities for players and at the same time we want to promote the bass. We certainly can't promote

Jennifer Sharp, Editor

Czech bassists playing in the streets of Brno

Final Bow

our performers without first (or simultaneously) promoting the instrument. But how we choose to do this can vary a great deal, from the Czech bassists playing in the street in Brno (see photo), to playing all concerts in a popular night spot as happened in Vienna. It was odd to see drinks being served during a performance of the Hertl Sonata, but heartening to see that Duncan McTier received as warm a reception in the jazz club as did Niels-Henning 0rsted Pederson, for example. I mentioned two things contributed to the recent success of the Viennese Bass Encounters, but in fact there were three, since the performers were among the best available and were full of friendly advice and tips. It's hard to quantify the benefits to up and coming bass players of being able to hear' greats' like Rufus Reid at first hand, talking about his life and band expe-

riences and demonstrating his unique techniques. Attendees could also learn how Kristin Korb developed her styIe of singing whilst playing bass; how Circus Bassisimus developed their quartet and how the intricacies of Arabic scales give a distinctive sound to the music of sextet Basic Instinct. Miroslav Vitous presented an inspiring master class and NielsHenning 0rsted Pederson showed us all how to perfect the three fingered pizzicato technique - easier said than done! Each evening presented a mix of styles. Duncan McTier rallied from a recent back injury to play some of his own arrangements including Bridge's Spring Song and Faure's Apres une Reve, accompanied by Rebecca Woolcock. The Ami, Niels and Wayne trio was a knockout yet again, playing some of Ami Egilsson's compositions and supported by the inimitable drummer Volume 29, Number 1

33

John Hollenbeck and the peerless Austrian pianist Fritz Pauer, who seemed to be at home with every musician on stage. Concert two began with Basic Instinct, followed by Miroslav Vitous, complete with the computerised string section of the Czech Philharmonic and ended with Kristin Korb, again accompanied by Friz Pauer and John Hollenbeck which sent us all away singing. On the final evening, Dieter and Wolfgang Muthspiel set a rattling pace with all guns to be followed by Ban'e Phillips. Everyone who has heard Barre play can imagine the scene: BalTe walked onto the stage with only his bass, no amplification in sight, and stared at the audience. Then he allowed his bass to speak, gently at first, in order to draw attention. Within a very few minutes, everyone was enthralled. Rufus rounded off the again with Fritz and John, putting into practice what he had preached during the day and providing a wonderful finale to a wonderful tlu'ee days. Three ingredients for success ? No, no! There were yet more! How can I the delicious Sacher Torte (a local chocolate cake) and the Blaufrankisch (a plumy rich red wine grown nearby and tasted with Kristin Korb, Chloe Cutts and Ralph Krahmer in a small wine bar off the Clnt:J'f'1"T£"'~·"T''''Tn£:»... Al1CCCJ',{Tl1~'7'I?"U

c>

Volume 29, Number 1

67

Stephen Reinfranck, Editor

YOUNG BASSIST'S PAGE

Greetings & Salutations, Young Bassists!

The Secret Life of Basses

In this

By Scott Sund

issue~

I'd like to address "What's Important and What

Isn't."

By now, you have probably seen lots of other bass players your age, and lots of older, more advanced students; perhaps you have even seen (and heard) some professionals play in your area. Once you have seen a bunch of bass players, I'm certain that you'll be struck by the appropriateness of the old adage that there are "different strokes for different folks. " It is only normal to look out of the comer of your eye at the players next to you in your orchestra section (especially if you have spaced out and have forgotten to count during the last long section of rests ... ) Maybe someone in your section has the fingers of their left hand going all over the fingerboard like killer worms on steroids, or they are waving their arms around wildly or rocking the bass back and forth maniacally while they are playing. If so, you might wonder why they are doing that, and if that means they are clued in to something that you aren't. .. Or perhaps a little voice in your head says "I'm not as good as they are" - then you are in trouble! I once taught a kid for only a few lessons, and then didn't hear from his family again. I never found out if he switched to another teacher, or, perhaps the kid thought he knew everything, and didn't need to take lessons. I don't want to be too harsh, but I thought the kid was pretty talented, though his forays up and down the fingerboard were what I jokingly call the "chromatic search mode." But even though he didn't come back to me for lessons, I began hearing the other kids talk about him: "Man, Lothar [name has been changed to protect the innocent] has incredible technique! He's all over the bass! Lothar plays notes I haven't even conceived of yet. .. !" Anyway, I just think it's interesting how many ideas you can get from listening to different people. So much of playing music is personal, and I guess the trick is to find the best way to express yourself through the music. Have any of you had more than one teacher? And have they told you everything exactly the same? Of bargain in the city, generous scholarships, and new outstanding facilities. course not! One last thought: I realize that boys Faculty: Violin: Joseph Glymph, Sylvia Myintoo,DavidTaylor,Assistant don't always mature as fast as girls, but Co,zcert1I1aster, Chicago Symphony Orc:hestra as I mentioned in my last column, I Viola: Joseph Glynlph (conductor),Vincent Oddo thought for sure that some irate boy Cello: Michael Duggan, Richard Hirschi, Chicago Sj'mphony Orchestra would write with a rebuttal to Kara Bass: Gregory Sarchet, Chicago Lyric opera - Sajeske's "Girl Power" article ... But no Performing Ensembles: String Orchestra and chamber Inusic ensembles mail, so it looks like "Girl Power" has The Music Department offers comprehensive undergraduate and graduate degrees programs in perfonnance, pedagogy and music education. struck again! Until next time - remember, Bass For more infurmation on faculty and scholarships visit our website at ·www.neiu.edu (Click on ','Celebrate the FiI,le, ArtS,:' then, Music Department)" the Final Frontier!

Happy Summer!

StrinB5 :~~~=::::~~:~::~a~;~~::::d:~~~:~:

or contact Profe~or Peter Chang at