Here is the next segment of our interview with National Symphony Orchestra double bassist Ira Gold. Ira was first interviewed on episode 15 of the podcast. Feel free to check that episode out, or click here to listen to any of our older episodes. Also, you can direct any questions to Ira directly at irajgold@gmail.com.

Enjoy!
__________

CBC 18: Interview with Ira Gold Part 2 and music of Bill Koehler

Release Date: 4/30/07
Length: 36:49
Website: www.contrabassconversations.com
E-mail: contrabassconversations@gmail.com
Blog: www.doublebassblog.com
Podcast T-shirts, hats, and more: www.cafepress.com/doublebass

Click to listen (right-click to download)
or click player below:

To get Contrabass Conversations downloaded automatically to your computer (for free!), you can subscribe in iTunes.

Click here to subscribe through e-mail or through another program besides iTunes

Welcome to Contrabass Conversations, life on the low end of the spectrum! I hope you all enjoyed last week’s episode continuing our conversation with Lyric Opera of Chicago bassist Andy Anderson. In case you missed it, head on over to our website and check it out—it was episode 17. You can also hear Andy on episodes 11, 7, and 4. Episode 11 featured a recital showcase from Andy, so if you’d like to hear him play (and he’s a GREAT player), check out episode 11.

_____________

I also hope that you all also enjoyed this week’s Contrabass Conversations Recital Showcase featuring music from Phillip Serna. This showcase was a full-length recital from 2003 featuring music of Brahms, Misek, Hertl, and Rachmoninoff, and it was recorded at Northwestern University in Evanston, Illinois.

Two quick news items before we get into our episode today. As most listeners undoubtedly know, the International Society of Bassists Convention is coming up this June in Oklahoma City. Due to an irritatingly complicated web of events, I cannot make the convention this year. I really think that it is important for Contrabass Conversations to have a presence at this event, and I’d like to let folks know that double bassist Ausberto Acevedo will be representing Contrabass Conversations at the convention. I will let you know more details as the event approaches, but Oz will be available for interviews and the like, and it should prove to be a good time all around.

If any listeners that are planning on making the convention would like to include some of their own footage and observations, whether they be in written, audio, video, or photo form, that would be welcomed and shared on both the blog and the podcast. Just drop me a line at contrabassconversations@gmail.com or head to over to the blog to get in touch.

__________________

Finally, I’d like to let listeners know that we are going to be adding some special hosts to episodes of the podcast. Both Phillip Serna and John Grillo will be either co-hosting or solo hosting some future episodes of the podcast, which I think is a really great thing. The more people that can be involved on the production end, the more interesting the product.

If anyone out there would like to do an interview for the podcast, please let me know. I really like having listener-submitted content to use for the show, and I am sure that many listeners are aware of guests that would be very interesting to hear from. Just drop me a line and we can talk about how to set this up on the technical end.

_____________________

This week we continue our conversation with National Symphony Orchestra double bassist Ira Gold. The first part of this interview was on episode 15, so you can go back and listen to this episode to get up to speed.

Topics discussed:

Ira’s practice routines
Practice session lengths
Open string work
Technique materials for students
Vance Progressive Repertoire series
Rabbath technique books
Hal Robinson Boardwalkin’ (starts at 11:40 part 2 of interview) and Strokin’
…and much more!

Interview with Ira Gold – Part 2

______________

I also did an interview this week with Lyric Opera of Chicago bassist and Northeastern Illinois University instructor Greg Sarchet. This interview was done in a Bulgarian restaurant and was a lot of fun, and I think that listeners will enjoy listening to it as much as I enjoyed doing it!

This episode will be released next week, and you will also be hearing Greg performing with the Vienna Waltz Ensemble during this upcoming episode.

Music from double bassist Bill Koehler

For the final part of our show this week, we will be playing music from double bassist Bill Koehler’s latest album Vandana.

Bill just released a new DuoCD entitled Vandana, Journey2gether
with Manpreet Bedi, tabla virtuso.

The CD got great reviews in ISB's Bass World and in Double Bassist
(London) Magazines.

Click here to order Bill’s new CD.

You can find more information about Bill’s CDs at his website:

http://www.bill-koehler.com/

Bill’s Biography:

Dr. William Koehler is Professor of Illinois State University where he teaches applied double bass, string pedagogy, graduate courses in psychology of music, and improvisation. Bill Koehler has performed in England, Belgium, Germany, Austria, Russia, Belo-Russia, Puerto Rico, and throughout the U.S. He has recently completed a book entitled A Guide to the Developmental Processes of Improvisation and Composition, which will be released soon. His Solo Bass CD, entitled "Glimpse" features original compositions in jazz, and world fusion idioms, as well as classical pieces for unaccompanied solo bass.
Bill has performed in numerous Orchestras in his native New York City, the Southeast, the Midwest, and performed with notable jazz and improvising musicians such as Sam Brown, Joe Tecula, Joel Smirnoff, Umayalpuram Sivaraman, Harold Seletsky, John Clark, Dave Burrell, Joe Morello, John Campbell, Carl Fontana, Dave Burrell, Jimmy Guiffre, Richard Davis, John Clayton, Rufus Reed, David Baker, Harvey Phillips, Turk Van Lake, and Nashville country music producer Byron Gallimore.
Dr. Koehler is a frequent clinician, and writer on bass pedagogy. He is a regular clinician/performer at the Richard Davis Festival, the International Society of Bassists, and various Bass Symposia. He has written articles and reviewed new music for string bass and string orchestra for the American String Teacher, and the ISB. Dr. Koehler has a number of transcriptions and original compositions for solo double bass, which are available through Schorer Publications in Munich, Germany.
One of his early research interests involves the application of biofeedback to study physiology and to aid the reduction of excess muscle tension in string playing. He has illustrated double bass techniques and made Editorial contributions in the two editions of Robert Klotman's string education textbook entitled Teaching Strings.

CD review reprinted from Bass World
The Magazine of the International Society of Bassists Summer 2005

Vandana-Journey2Gether
Bill Koehler (db)
Manpreet Bedi (tabla), Bob McEntyre (drums), Glen Wilson (bar sax), David Collier (bass mar, vib), John Boboukis (vox)
Virtual Time Records VTR2004

Journey2gether is the name of the CD, Vandana is the name of the duo, and “cool!� is what you’ll say when you listen in. Bass players and drummers have a special relationship in non-classical music; together we create the groove over which all those horn players, guitar players, and singers do their business – without us, they would be nothing! (well…) On this CD, bassist Bill Koehler and tablist Manpreet Bedi feature themselves and the groove, resulting in some very interesting and beautiful music.
The Duo sites their musical influences as contemporary classical, jazz, world music and the music of India, and the fusion of eastern and western musical languages. Journey2gether features some written, but mostly improvised music. With the exception of Vernon Duke’s Autumn in New York and a 14th century ballade by Guiullame Machaut, all of the compositions are by Koehler and Bedi, and sound heavily influenced by Indian music.
For example, the opening cut, Caravan Bacchanal, begins with Koehler’s cadenza on a Phrygian scale, then he sets up a groove, and after Bedi and guest drummer Bob McEntyre join in and take over the groove, Koehler picks up the bow and continues wailing. The drummer and the tablist both take solos before the piece is through, and when it’s all over the listener will be surprised that eleven minutes have passed – compelling stuff.
Euphoethos has a guest appearance by baritone saxophonist Glenn Wilson, and he and Koehler take turns providing cascading phrases throughout the piece. This tune like many on this recording (and particularly Deep is My love for You), has a wonderful, hypnotic effect. The tunes Incantation, Consolation, and Postlude are grouped together, seemingly as one piece, and are tremendous. Consolation employs Wilson’s bari sax as well as David collier’s marimba and vibes – one of the great things about this album (and Consolation is a very good example), is the way Koehler brings together so many low pitched instruments, and how fantastic these instruments sound together. There is such warmth – it’s the musical equivalent of “comfort food!�
Koehler’s playing is top notch. His sound, particularly when bowing, is beautiful and his intonation enviable. His compositions are published through himself or Schorer Publications, and I suspect that they are equal parts fun and challenging. Tablist Bedi is a delight; he gets a gorgeous tone and his accompaniments or interactions are noteworthy throughout the album. Journey2gether is an excellent addition to and CD collection-check it out, play it for your students, and enjoy listening to a terrific example of what else the bass can do!
Review by Chris Kosky

Phillip Serna Recital Showcase 1

Show Notes

 

Release Date: 4/26/07

Length: 1:17:08

Website: www.contrabassconversations.com

E-mail: contrabassconversations@gmail.com

Blog: www.doublebassblog.com

 

To get Contrabass Conversations downloaded automatically to your computer (for free!), you can subscribe in iTunes:

 

Or click here to subscribe via e-mail through another program.

Click to listen (right-click to download) or click player below:

 

_______________

 

Here is a full-length recital showcase featuring a performance from double bassist Phillip Serna.  Visit Phillip online at www.phillipwserna.com

 

Northwestern University School of Music

Presents a Doctoral Recital

Phillip Woodrow Serna, double bass

In Partial Fulfillment of the Requirements for the Degree

Doctor of Music in Double Bass Performance

Double Bass Student of Michael Hovnanian

Viola da Gamba Student of Mary Springfels

assisted by:

Shirley Trissell, piano

Sunday, April 27, 2003, 8:30 p.m.
Regenstein Recital Hall
60 Arts Circle Drive
Evanston, Illinois

Sonata in E-Minor, Op.38 (1862-1865)           Johannes Brahms
For Violoncello and Piano                                     (1833-1897)

    Allegro non troppo
    Allegretto quasi Menuetto        
    Allegro      

SHORT INTERMISSION

Sonata No.2 in E-Minor, Op.6                               Adolf MiÅ¡ek
For String Bass and Piano                                     (1875-1955)

    I. Con fuoco
    II. Andante cantabile
    III. Furiant: Allegro energico        
    IV. Finale: Allegro appassionato      

SHORT INTERMISSION

Sonata (1956)                                                    FrantiÅ¡ek Hertl
For String Bass and Piano                                           (b. 1906)

    I. Allegro moderato
    II. Andantino
    III. Rondo: Alla polka, moderato        

[ENCORE] Vocalise, Op.34, No.14              Serge Rachmaninoff
                                                                              (1873-1943)

Program Notes

Johannes Brahms' Sonata in E-Minor, Op.38 (1862-1865)


    In the summer of 1862, Johannes Brahms composed the first two
movements of the Sonata for Piano and Violoncello, Op. 38. He later
added the final Allegro in June of 1865. Intended as an "homage to
J.S. Bach," Brahms based the principal themes of the outer movements on
Contrapuntctus 4 and Contrapunctus 13 from "The Art of Fugue." Indeed,
beyond these thematic references, fugal interplay is the prevailing device
employed throughout the work. The sonata was first performed in July
of 1865, and submitted for publication to both Breitkopf & Härtel and
Simrock in September of the same year. Breitkopf & Härtel refused to
publish the work. Simrock soon accepted it, however, and it was probably
published in early 1866. Brahms' famous description of the work,
which accompanied his submission to Simrock, remarks that it is "a
violoncello sonata which, as regards both instruments, is certainly
not difficult to play.

    David Cardon, Discordia Music

    Discordia Music, a publishing company run by Professor Michael
Hovnanian, publishes the edition used for this performance. Discordia
specializes in publishing new works and transcriptions for the double bass,
as well as to publish premium quality, well-researched, scholarly editions
of music part of the standard double bass solo literature.

Adolf Mišek's Sonata No.2 in E-Minor, Op.6


    The typesetter, composer, conductor, and double bass player Adolf
Mišek was born in Modletin, Czechoslovakia in 1875. At age 15, Mišek
attended the Academy of Vienna, later conducting as choirmaster of The
Czech Choir ,,Tovaovský" and Slavonic Chorus. Additionally, he
conducted The Czech Academic Orchestra in Vienna. From 1890 to1894 Mišek was a student of the famous lecturer, Franz Simandl (1840-1912), who in Mišek's time was associated with the Vienna Conservatory, an
institution that Mišek would later be engaged as bass professor. From
1920 to 1934 Mišek returned to his place of birth in Bohemia. He returned
to Prague where he built a career as a soloist with the National
Theatre. He died in Prague in 1955.

    MiÅ¡ek composed various works in different genres for voice, violin,
chamber ensembles, and lastly for the double bass. His works for
bass include a Scales Study, Legend op. 3 for Double Bass and Piano, a
Capriccio (1899), Concert Polonaise, Sonata No.1 in A Major, Op. 5,
Sonata No.2 in e minor, Op. 6, Sonata No.3 in F Major, and a Concert in
C-major.

František Hertl's Sonata (1956)

    Composer and double bassist FrantiÅ¡ek Hertl was an active member in
Czech music throughout his career. From 1920 to1926, Hertl studied double bass at the Prague Conservatory with Professor Fr. Cerny, also
studying composition from 1933 to1936. Hertl was solo double bassist in
the Czech Philharmonic Orchestra (1929-1935) and Czechoslovak Radio
Orchestra Prague (1935-1950).  Hertl was director as well as performing
member of the Czech Nonet from 1936 to 1950 and 1963 to1966 in addition to his duty as conductor of the Radio Orchestra in Brno (1950-1961). As a pedagogue, Hertl was professor at the Prague Conservatory (1951-1961), at the LeoÅ¡ Janácek Academy of Music Arts in     Brno (1954-1961), and at the Academy of Music in Prague (1953-1973).

    Hertl wrote 35 compositions for orchestra including a Czech Suite
(1947), Czech Dances (1947), and a Symfonietta for Oboe and Small
Orchestra. Hertl composed a Sonata for Violoncello and Piano as well
as various choral works. Hertl also composed a Concert Polka (1948)
and a Concert for Double Bass (1957) premiered by František Pošta in 1958.
He additionally composed a Prelude, Burlesca, Nocturno, and Tarantella
(1969). As pedagogical works, Hertl wrote a Double Bass School  (1962) and 20 Studies  (1965) for Double Bass. The Sonata for Double bass and Piano (1956) was first recorded by his pupil Pavel Horak, a member of Brno Philharmonic Orchestra, now in retirement.  Hertl was directing during the recording process.

    Information courtesy of Miloslav Jelinek of the Czech Society of
Double Bassists

Biography

A native of Houston Texas, Phillip W. Serna (viola da gamba) is an active
and enthusiastic performer of early music, as well as the contemporary,
solo, orchestral, and chamber repertoires. Phillip earned his Bachelor of
Music in double bass performance with Stephen Tramontozzi at the San
Francisco Conservatory of Music in 1998. Phillip later completed his Master of Music at Northwestern University School of Music in 2001 as a Civic Orchestra of Chicago Graduate Fellow. On June 16, 2007, Phillip will receive the Doctor of Music degree from Northwestern University where he studied double bass with international soloist DaXun Zhang and formerly with Chicago Symphony Orchestra member Michael Hovnanian. Phillip studied viola da gamba with Newberry Consort founder Mary Springfels.

Since 2003, Phillip has been principal double bass of the Northbrook
Symphony Orchestra and has been recently elected to a two-year term on the Board of Directors of the Northbrook Symphony.  In addition, Phillip has performed regularly with other orchestras such as the Bach Chamber Orchestra & Choir, Chicago Symphony Orchestra's Civic Orchestra of Chicago, Elmhurst Symphony Orchestra, Fort Wayne Philharmonic Orchestra, Illinois Philharmonic Orchestra, Illinois Symphony Orchestra, Kankakee Valley Symphony Orchestra, Kenosha Symphony Orchestra, New Philharmonic Orchestra, Quad Cities Symphony Orchestra, Racine Symphony Orchestra, Rockford Symphony Orchestra, Southwest Michigan Symphony Orchestra, Waukesha Symphony Orchestra, Wisconsin Chamber Orchestra as well as the Memphis Symphony Orchestra. In March of 2007, Phillip will perform Giovanni Bottesini's Concerto No.2 in b-minor with the Waubonsie Valley High School Orchestra in Aurora, IL after having already performed Estonian composer Eduard Tubin's stirring Concerto for Double Bass and Orchestra with Northwestern University's Summer Orchestra under the direction of Robert Hasty in July of 2003. Recently joining the board of the
Early Music Chicago arts advocacy & performance organization, Phillip
regularly performs on viola da gamba and period double bass/ violone with
period instrument ensembles and organizations such as the Apollo Chorus of Chicago, Ars Antigua, Chicago Early Music Consort, Period Opera Cosi fan Tutte with Chicago Opera Theater, Classical Arts Orchestra, Comic
Intermezzo, Early Music Chicago, the Janus Ensemble, the Newberry Consort, the Evelyn Dunbar Memorial Early Music Festival at Northwestern University, the Oriana Singers, the Second City Musick, and the Spirit of  Gambo - a Chicago Consort of  Viols, as well as the Concert for Compassion Viol Consort & the Forces of Virtue Ensemble and Choir, dedicated to raising money for disaster relief and other charities.

In addition to his intense performance schedule, Phillip teaches lessons on
double bass, bass guitar, guitar, viola da gamba, and presents master
classes and workshops on modern and period double bass. As a passionate
advocate of early music, Phillip has championed the viola da gamba with his initiative 'Viols in Our Schools,' bringing solo and chamber music for viols into Chicago area classrooms. Phillip also currently teaches at numerous institutions around the Chicago area. Phillip lives in Plainfield, IL with his best friend and wife, Magdalena.Program

The next episode of Contrabass Conversations is now available for your listening pleasure. This episode features a talk with Lyric Opera of Chicago bassist Andy Anderson and music from the double and electric bass band Gunnelpumpers. Enjoy! CBC 17 Show Notes

 

Episode Length: 47:12 Release Date: 4/22/07 Website: www.contrabassconversations.com Blog: www.doublebassblog.com Voicemail: 206-666-6509

E-Mail: contrabassconversations@gmail.com

Podcast t-shirts, hats, and more: www.cafepress.com/doublebass

Subscribe in iTunes: Click to listen (right-click to download) or click player below:

Music from the Gunnelpumpers: www.myspace.com/gunnelpumpers

Interview with Andrew Anderson Part 3

News and Notes

My Take a Friend to Orchestra Initiative essay was just published on Adaptistration, a great blog on the changing face of the modern orchestra authored by Drew McManus.

Click below for my article:

http://www.artsjournal.com/adaptistration/archives/2007/04/tafto_2007_cont_25.html

The contributors included:

· Paul Alter: Retired multimedia training specialist, practicing music addict [bio]

· Galen Brown: Composer and Sequenza21.com blogger [bio]

· Andrew Druckenbrod: Classical Music Critic, Pittsburgh Post-Gazette [bio]

· Bill Harris: Systems Dynamics Expert and orchestra enthusiast [bio]

· Jason Heath: Bassist & author of Jason Heath's Double Bass Blog [bio]

· Magda Krance: Manager of Media Relations, Lyric Opera of Chicago [bio]

· Frank J. Oteri: AMC Composer Advocate & Founding Editor, NewMusicBox [bio]

· Jim Palermo: General Director, Grant Park Music Festival [bio]

· Henry Peyrebrune: Bassist, Cleveland Orchestra [bio]

· Jesse Rosen: Executive Vice President and Managing Director, ASOL [bio]

· Roger Ruggeri: Bassist, Milwaukee Symphony Orchestra [bio]

· Leonard Slatkin: Musician [bio]

· Michael Tiknis: Managing Director, Harris Theater for Music and Dance [bio]

· Connie Linsler Valentine: Executive Director, Nashville Chamber Orchestra [bio]

· Kim Pensinger Witman: Director, Wolf Trap Opera & Classical Programming [bio]

-great response on the Francois Rabbath episode last week

-we�ve got the second half of that coming up

-our interview with National Symphony Orchestra bassist Ira Gold will continue next week

-later this week I plan on releasing the next recital showcase featuring Phillip Serna playing music of Brahms, Misek, Hertl, and Rachmaninoff

-I describe how these recital showcases work and how special episodes versus regular episodes will work

What is Gunnelpumping?

Gunnelpumping is the act of standing on the lip (gunnel) at the stern of a canoe and propelling the craft forward by pumping up and down with only your legs. It's quite ungainly and requires great balance, coordination, and is potentially very dangerous.

And how exactly does this relate to music?

Gunnelpumpers bring this experience to their music. Three upright bassists (Chicago Symphony member, a top Chicago-area freelancer, and a relocated New Orleans cataclysminite) paired with two world-class hand percussionists (Las Toillitas, C.U.B.E. Ensemble) and electric guitar bring to life improvised instrumental music drawing on world, trance, rock, classical, jazz and experimental traditions, resulting in music that makes it difficult to sit completely still.

Once Gunnelpumpers start to play, they tend to keep going and - in true gunnelpumping fashion - try not to fall off. But, yes, sometimes they do tend to go overboard.

Official Bio

Gunnelpumpers was founded by bassist/composer Douglas Johnson and percussionist Randy Farr in 2002. They had met through the band, Las Toillitas, of which Randy was a member and Doug occasionally sat in with. Soon afterwards, another Las Toillitan, percussionist Douglas Brush, and Chicago Symphony bassist Michael Hovnanian joined the group. Finally, in 2006, guitarist John Meyer and bassist, composer and Katrina cataclysminite Matthew Golombisky completed the group. Their first several performances were benefit concerts for the Treehouse Animal Foundation, but now can be heard at several area clubs and events. Gunnelpumpers currently hosts the Infrasonic Sound Series monthly at the Muse Cafe in Chicago.

At the heart of Gunnelpumpers is the spirit of improvisation, and each musician brings a wide range of influences to create a unique and compelling sound. By nature Gunnelpumpers defies labels, but perhaps electro-tribal improv best describes the myriad of styles they draw from, which ranges from classical, to rock, jazz to minimalism, and Indian, African, Caribbean, and electronic music. Having such an open approach to music making, they have welcomed nearly twenty guest artists at their performances.

Gunnelpumpers have been the guest music ensemble for the Dutch National Ballet Project, as well as Dance Chicago and the Dutch National Ballet. They were featured in the Summer, 2006, issue of Double Bassist magazine, as well as the Sept/Oct 2006 issue of Zero Tolerance Magazine, both UK music publications.

Tracks Played:

D�Bass

Earthing

Andrew Anderson Interview Part 3

-Andy discusses his practice habits leading up to his successful auditions for the Grant Park Symphony and the Lyric Opera of Chicago

-pure warm-up and technique exercises versus warming up on repertoire

Listener Feedback:

Audio feedback from Phillip Serna

�from Benjy:

Hello Jason; I am a bassist and have just discovered your website. Keep up the good work and if you ever need anything from the other side of the Atlantic, just yell!

Benjy

�.from Ben Huff:

Hi Jason, Just wanted to let you know how much I've really enjoyed these last couple of podcasts! I wasn't really that familiar with Francois Rabbath before hearing this podcast, but after hearing you (and him) sounding so enthusiastic about his special approach to the bass, I've decided to do some research and see if I can include any of his techniques into my own playing. I was curious though, did Ira Gold record the entire Vanhal Concerto? The 3rd movement in his interview was so great, I'd love to hear the whole concerto if he made a recording of it. Thanks for making such a great show! Ben

�.from George Vance:

Thanks for putting the link to my web site on your site re recordings of Rabbath.

George Vance

�..from Nick Scales:

Hi Jason, I have been meaning to write in and say how impressed I am with your site and your work. If you are half as motivated in you playing as you have been with this undertaking, I will look forward to your being in the National bass spotlight very soon!! Has the ISB done an article on your site yet?? It would be a consideration for sure.

Congrats! Nick Scales

�.from Jeff Weisner

Hello Jason -

It's ironic that I finally get around to writing to you on the day you post on your blog about getting more feedback.... We haven't met, but I read your blog and enjoy your posts. Ira Gold has also said great things about you.

�.from Robert Oppelt:

Well done. You've got a great thing going and I'm sure it takes a tremendous amount of your time. A tremendous contribution...

Visit his site at http://www.robertoppelt.com/index.html

�from Tyler Abbot:

Dear Jason, I am a freelance bassist living out in Oregon. I recently discovered some of your online resources and wanted to thank you for all of your work. It is really informative and, believe it or not, inspiring ("You mean other people deal with the same stuff I do?"). Thanks again, Tyler Abbott

�from Rainer Lewalter:

Hi Jason, thanks for responding so quickly! Gives me an opportunity to say thank you again, because that Rabbath interview is just beautiful.

Sign Off

We�ll see you next week for more life on the low end of the spectrum!

CBC Episode 16 Show Notes

Contrabass Conversations Episode 16 Show Notes
Interview with François Rabbath

Welcome to Contrabass Conversations – life on the low end of the spectrum!

Episode Length: 27:02
Release Date: 4/15/07
E-Mail: contrabassconversations@gmail.com
Voicemail Line: 206-666-6509
Website: www.contrabassconversations.com
Blog: www.doublebassblog.com
Subscribe in iTunes:

Click to listen (right-click to download)
or click player below:

Last week’s episode featured the first part of a great interview with National Symphony Orchestra bass section member Ira Gold. You can check out the episode with Ira here.

François Rabbath was in Chicago recently, and we got a chance to sit down with him for a Contrabass Conversations interview while he was in town. This is the first part of the interview, and the second half of the interview will be released in the next few weeks.

François Rabbath biography (from Liben website)

Every now and then, just when you thought you had things all neatly arranged in their proper order, someone comes along and not only upsets everything you've done, but demands that you change your entire way of thinking before you can even begin to put them back together again. François Rabbath is one of those people.

Born in Aleppo, Syria into a musical family of six boys and three girls, François discovered the double bass at the age of thirteen when one of his brothers brought an instrument home and allowed him to experiment with it. When the family moved to Beirut, Lebanon he found an old copy of Edouard Nanny's Contrabass Method in a tailor shop and with some difficulty, since he read neither music nor French, began to teach himself. After nine years of work in Beirut, François saved enough money to move to Paris for a year. He was eager to go to the Paris Conservatory, meet with Monsieur Nanny and show him what he was able to do with the bass. When he applied at the Conservatory he was disappointed to learn that Nanny had died in 1947. He was also told that auditions were to be held in three days and that he would never have enough time to learn the required pieces. He asked for the music anyway and returned three days later to finish first among the applicants. However, his stay at the Conservatory was a brief one, since it didn't take very long to see that he was not only far ahead of the other students but of the professors as well!

While in Paris he began to earn his living as an accompanist for Jacque Brel, Charles Aznavour, Gilbert Becaud, Michel Legrand and others. In 1963 he made his first of many solo record albums. Although never advertised or promoted, the Phillips album Bass Ball became one of the most sought after recordings of its time.

From 1964 he became active composing much music for movies and the theater. At the same time he started to play solo recitals, first in France, then throughout Europe. His American debut was in Carnegie Hall in 1975.

François Rabbath's uniqueness stems from his refusal to accept any traditional limitations. Whether performing his own fascinating compositions, the music of others or the classical repertoire, one is always moved by his profound musicianship and dazzling virtuosity. You quickly discover that he brings you such a sense of security that the most difficult passages sound effortless.

In 1978 Rabbath met the American composer-double bassist Frank Proto. A close friendship quickly developed when the two discovered that they had many shared musical experiences and philosophies. Neither had any respect for the boundaries that separated classical, jazz and ethnic musicians. Both were as comfortable playing chamber music at a formal concert one day and improvising with jazz musicians the next. In 1980 the Cincinnati Symphony asked Proto to compose a concerto especially for Rabbath. The resulting Concerto No. 2 for Double Bass and Orchestra was premiered by Cincinnati in 1981. Two years later the Houston Symphony asked Proto to write another work especially for Rabbath. The Fantasy for Double Bass and Orchestra was premiered in Houston in 1983. Rabbath has since played the work around the world. Their third collaboration, the Carmen Fantasy, began life as a work for double bass and piano. Rabbath again premiered the work in Cincinnati in July of 1991 with the composer at the piano. Proto orchestrated the work in the spring of 1992. All three works have been recorded and are available on the Compact Disc Frank Proto: Works for Double Bass and Orchestra. (Red Mark 9204). Their most recent collaboration has been on Proto's Four Scenes after Picasso - Concerto No. 3 for Double Bass and Orchestra.

We are fortunate in that Rabbath has recorded constantly through the years. His sequel to Bass Ball - Multi Bass '70 (Red Mark 9202) is still available, as is Live Around the World (Red Mark 9201), a collection of his own compositions recorded in concert. The original Carmen Fantasy for Double Bass and Piano with the composer at the piano, was recorded recently along with his own Concerto No. 3 and Two Miniatures - Carmen! (Red Mark 9203).

The importance of François Rabbath to the development of double bass playing can be compared with that of Paganini to the violin. Since the early 1800s when Nicole Paganini established the violin as a virtuoso instrument, solo violinists have practiced the most brilliant of instrumental art. Meanwhile, the development of double bass playing had been seriously neglected. The great and popular 19th century composers did not consider the bass worth their attention and in turn the bass repertoire did not attract potential virtuoso performers with enough genius to change the situation. It demanded an artist with the unique qualities of François Rabbath to break this impasse.

Recordings and Publications by François Rabbath

Art of the Bow DVD

A New Technique for the Double Bass

Solos for the Double Bassist
Two Miniatures for Double Bass and Piano

Bach: Suite No. 1 in G Major for Solo Double Bass
Bach: Suite No. 2 in D Minor for Solo Double Bass
Vivaldi: Concerto in F (or G Major) for Double Bass and Piano

CD02 - Live Around the World
Breiz, Poucha Dass, Ordis, et al.






CD03 - Multi Bass '70
Poucha Dass, Incantation, et al.






CD04 - Carmen!
Proto: A Carmen Fantasy for Double Bass and Piano. Rabbath: Incantation pour Junon; Reitba; Concerto No. 3.





CD05 - Rabbath Plays Proto
A Carmen Fantasy for Double Bass and Orchestra; Fantasy for Double Bass and Orchestra; Concerto No. 2.





CD06 - François Rabbath: 60
Rabbath’s recordings of the 1960s, including the legendary “Bass Ball� album.

Check out even more recordings of François Rabbath here

_____________

Jason discusses the Virtual Master Class Project

• About the Project
• Virtual Master Class Project Tracks

Jason also congratulates double bassist Matt Heller’s recent successful audition for the Calgary Philharmonic. Check out his excellent blog at http://hellafrisch.blogspot.com.

This week's episode of Contrabass Conversations features an interview with National Symphony bassist Ira Gold. Ira is an outstanding performer on the instrument, and he brings valuable insight into the process of learning and developing on the double bass in this interview. You will also get to hear Ira play the last movement of the Vanhal Concerto with orchestra. Check out the show notes below for Ira's biography and a description of the other goodie's on this week's show. Enjoy!

Click to listen (right-click to download)
or click player below:


Contrabass Conversations Episode 15 Show Notes
Interview with Ira Gold

Welcome to Contrabass Conversations - life on the low end of the spectrum!

Episode Length: 52:31
Release Date: 4/8/07
E-Mail: contrabassconversations@gmail.com
Voicemail Line: 206-666-6509
Website: www.contrabassconversations.com
Blog: www.doublebassblog.com
iTunes:



Correction -- In the introduction, we mentioned that Ira is the most recent addition to the National Symphony Orchestra bass section, but Paul Denola is actually the most recent bassist to join this section.

Last episode - John Grillo interview part 3 (final).

John played excerpts last week from Verdi's Otello and Malher's Second Symphony, and we are planning on doing a special podcast for people preparing auditions which will feature John performing a few dozen excerpts.

We also have upcoming recital showcases from double bassists Peter Lawson and Phillip Serna (who was featured on episodes 5 and 8 of the podcast).

Briefly discuss Rabbath episode for next week.

Today's Episode

This episode features part 1 of our interview with National Symphony bassist Ira Gold.

Jason and Ira played together for several seasons in the IRIS Chamber Orchestra of Memphis, TN.

Ira Gold biography:

Ira J. Gold joined the National Symphony Orchestra in September of 2005 as
the orchestra's youngest member. He was born and raised in Houston, Texas,
where he began violin studies at age 3. Mr. Gold started double bass
lessons at age 12, and became serious about pursuing a career in music
during high school. He earned his Bachelor of Music degree at Boston
University's College of Fine Arts, and his Master of Music degree at Rice
University's Shepherd School of Music, where he won the strings division of
the 2005 Concerto Competition. Mr. Gold performed the Vanhal Bass
Concerto with the Shepherd School of Music Chamber Orchestra in
February of 2006. His primary teachers include Edwin Barker and Paul Ellison,
and additional studies with Albert Laszlo, Kenneth Harper, Dennis Whittaker,
Mark Shapiro, and Harry Lantz.

Mr. Gold has performed with several orchestras around the country, including
the Minnesota Orchestra, and as Principal Bassist with the San Francisco
Symphony and Detroit Symphony. He has attended the Domaine Forget Music
Academy, Bach Festival Leipzig, Aspen Music Festival, and Tanglewood Music
Center, where he was a recipient of the Maurice Schwartz Prize. Mr. Gold
spent several summers at the International Festival Institute at Round Top
both as a student, and, during the summer of 2004, as a member of the bass
faculty. He has given masterclasses and recitals at the Peabody Conservatory
at Johns Hopkins University, James Madison University, and the Chautauqua Music Festival.

In addition to his position with the NSO, Mr. Gold has performed with the
Eclipse Chamber Orchestra, an ensemble comprised of NSO members.

If you are interested in learning more about the concepts Ira brought up in this interview, you can contact him at irajgold@gmail.com

After the interview, you will be hearing Ira play the third movement of the Vanhal bass concerto, and we will read some listener feedback and cover some news items in the bass world. We'll conclude the episode with a song from Uncle Seth called, 'You Don't Need an iPod' which we'll talk a little more about later.


-INTERVIEW-

-VANHAL CONCERTO MVT 3-


News:

Philip Serna recital

Phillip W. Serna ' Crossover Performance Phenomena within the Early Music Movement ' Popular Idioms in Solo and in Consort ' a Doctoral Lecture Recital (Viola da Gamba & Double Bass)

Jeanne Vail Chapel, Alice Millar Religious Center , Northwestern University

1870 Sheridan Road, Evanston , IL 60201

Tuesday, May 22, 2007 7:00PM

Phillip W. Serna will be exploring the intersection of popular music and art music in the 17th century. Featuring transcriptions for double bass, as well as unaccompanied solo literature for viola da gamba, repertoire will include ballad settings from the Manchester Lyra-Viol Manuscript, John Playford's Musicks Recreation on the Viol, Lyra-Way, as well as consort settings.

Feedback:

......from Meredith Nelson

My name is Meredith Nelson. I'm a double bassist living just outside Toronto. Just writing to let you know how much I've been enjoying the podcast and the website.

Meredith has a great story about a painful experience while flying with a bass, and I'll relay that story on my blog, so look for that soon.

.....from Lenny Tischler

Jason...what was the solo bass piece played between the interview with John Grillo and Terry Plumeri playing Footprints? It was in my opinion a very cool piece of music and I want to learn it...Lenny Tischler

.....from Michael Binder

Dear Jason.
I like your website very much. I am a bass player and teacher from Germany and I live with my wife since three years in Spain. My wife is spanish.

It is interesting to see that in the US there are many small orchestras and people seems to be proud of playing in this orchestras. In Germany and Spain you are only "somebody" when you play in the big famous orchestas, otherwise you seem that you are not good enough as musican.

How is this in the US?? Is it right what it seems to be or is there more show than reality?

Greetings from Spain y un saludo

......from David Ballam

Hi Jason,
I hope you are doing well. I'm writing to put a bug in your ear about an really cool upcoming concert at your alma mater. It's next Wednesday, April 4th (7:30pm) at Pick-Staiger. The concert is entitled "QuadroPhonia: A Feast of Fours with the the Wacker Consort". The Wacker Consort, is the doublebass quartet made up of CSO musicians (Daniel Armstrong, Michael Hovnanian, Robert Kassinger, and Stephen Lester). I know they are doing the Schuller Quartet by themselves, and then myself and three others are joining them to make an octet of basses performing a Renaissance piece by Susato.

Song from Uncle Seth

We'll finish up the episode today with a song by the band Uncle Seth. This song is called 'You Don't Need an iPod' and it is a short little public service announcement correcting some misconceptions people have about podcasts. I'm really trying to keep the technical geek talk to a minimum on this show and keep it focused on bass, but I definitely get asked, 'I don't have an iPod. How do I listen to your show?' frequently. This song will hopefully correct come misconceptions about how people can access this show. Internet, iPod, through your cell phone, through e-mail, iRiver, Zune, TiVo, and soon on Internet radio--this show can be grabbed in dozens of ways, and I'll try to clarify what subscribing really means and how one can get easy access to this show.


-SIGN OFF-

You can reach us at:

-Website: www.contrabassconversations.com
-e-mail: contrabassconversations@gmail.com
-on iTunes
-find T-shirts, hats, coffe mugs and more through the website or at www.cafepress.com/doublebass
-voicemail line 206-666-6509
-www.myspace.com/cbcpodcast

Find all of our old shows at www.contrabassconversations.com

Stay tuned next week for our interview with Francois Rabbath, and we'll see you then for more life on the low end of the spectrum.

Click to listen (right-click to download)
or click player below

CBC 14 show notes

 

Length: 29:23

e-mail: contrabassconversations@gmail.com

voicemail line: 206-666-6509

website: http://contrabassconversations.com

blog: http://doublebassblog.com

 

This episode features Part 3 of our interview with double bassist John Grillo.  You can listen to the previous two installments of this interview plus John's recital showcase in the archives of Contrabass Conversations.  Click here for all episodes featuring John.

 

Download the episode here (right-click and choose 'save as')

 

Subscribe to the podcast in iTunes here (or visit www.contrabassconversations.com to subscribe using  another program)

 

New and Notes

 

Rabbath visit to Chicago on Tuesday, April 3, 2007 at Buntrock Hall in Symphony Center from 1 p.m. to 4:30 p.m.  This event is being sponsored by DePaul University, and I'd encourage folks to come check it out if they happen to be in the Chicago area in early April.

 

The Contrabass Conversations online store is now open!  Visit http://contrabassconversations.com and click on the 'Store' button.  You can also do the same from my blog at http://doublebassblog.com, or you can visit it directly at http://cafepress.com/doublebass. 

 

We've got a ton of different T-shirt designs, plus caps, coffe mugs, tote bags, teddy bears, wall clocks, and more, so check it out!

 

Today's episode will feature the final part of our interview with double bassist John Grillo.  John was on episodes 6 and 9 of the show, and he was also featured on our first recital showcase episode.

 

Today you will also hear some tracks of John playing orchestral excerpts.  I think that this is an interesting way of highlighting another facet of John's playing.  You've heard a lot of John's solo work over the past few episodes, and you can now get an opportunity to hear a player of his caliber execute some orchestral excerpts.

 

Before the interview you will hear the double bass solo from Verdi's opera Otello.  We bassists get to play some very tense and dramatic music in a soli section during the final act of this opera, and you will get a chance to hear John play this.  After the interview, you will get to hear John play another famous bass soli section from the opening of Mahler's Second Symphony.

 

After hearing John today, we'll read some listener feedback and hear music from double bassist and conductor Terry Plumeri.

 

Music from Terry Plumeri

 

Today we will also be featuring a recording of the tune Footprints from bassist and composer Terry Plumeri from his album Blue in Green.  This album also features David Goldblatt on piano and Joe La Barbera on drums.  Terry plays the head for each of these tunes with the bow as well as his solos, and I think you all will really enjoy it.

 

I'd like to thank David Bell and GMMC records for allowing the use of this track.

Terry's Biography

 

Terry Plumeri has just completed recording the 4th, 5th and 6th symphonies of Tchaikovsky as conductor of the Moscow Philharmonic for a fall 2006 release on the GMMC CD label. In the past, Terry's recordings with the Moscow Philharmonic of his original compositions have received such words of praise from Fanfare Magazine as, "These well-prepared composer-conducted performances and recordings are both technically and esthetically stunning. The emotional curve of Plumeri's music has a dramatic inevitability that carries the listener along without questioning and leaves him fully gratified, very much like the best of Tchaikovsky's efforts." The Washington Post has said of these recordings, "Plumeri conducts the Moscow Philharmonic in a performance sensitive to the music's smallest nuances."

Terry's innovative style of bowing jazz solos on the acoustic bass has garnered comments like 'Stunning, a very high level of music' from the Washington Post. Terry Plumeri's bowed bass work is endlessly compelling" from allaboutjazz.com. 'Extraordinary bowing facility' from Jazz Improv Magazine. In speaking about his latest jazz release Blue In Green, Jazz Improv Magazine has said 'The performances and solo improvisations on the parts of Terry Plumeri on bass, David Goldblatt on piano and Joe La Barbera on drums are outstanding. Blue In Green is an album bubbling with creativity, interactivity, magnificent improvisations, and the combined experience, sensitivity, and desire of three consummate musicians performing eight essential pieces from the jazz and standard repertoire. Go and listen.'

While on scholarship to Manhattan School of Music in New York City, Terry studied with Robert Brennand, principal bass of the New York Philharmonic. During his period as a bassist with the National Symphony Orchestra in Washington D.C., he studied composition and conducting with the Hungarian conductor/composer Antal Dorati, himself a student of the legendary Bela Bartok.

During the past 15 years he has written the music to 55 feature films, which includes the score to the award winning crime story One False Move, which has recently been added to the "New York Times List of the 1000 Best Films Ever Made". His score for One False Move was nominated for Best Score by the IFP Spirit Awards.

Terry's lectures on music have been heard at the Smithsonian Institute, Georgetown University, Maryland Art Institute and University of Southern California as well as in his private classes in the Los Angeles area on the Vocabulary and Psychology of the Music of Bernard Herrmann in the Alfred Hitchcock thriller, Psycho.

Terry has played with such jazz greats as Cannonball Adderley, Herbie Hancock, Wayne Shorter, Quincy Jones, Arthur Prysock, Frank Sinatra, Joe Williams, Les McCann, Yusef Lateef, John Abercrombie and Woody Herman. Notable performances include Carniegie Hall/New York City, Albert Hall/London, Herodicus Atticus Theater/Athens, Tchaikovsky Hall/Moscow, as well as the Newport, Monterey and Montreux jazz festivals.

 

- - - - -

 

Feedback from Glenn Gordon and David Bell closes the episode.