Contrabass Conversations

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 Mišek 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) František 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. Mišek 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 František 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 Leoš 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

Andrew Anderson performs in nearly 150 concerts every year and teaches over a dozen students of all levels each week. Andrew Anderson is a member of the Grant Park Symphony Orchestra and the Lyric Opera of Chicago Orchestra, the Chicago Philharmonic, and performs regularly with Music of the Baroque. He has performed with the Minnesota Orchestra, Detroit Symphony, Fort Worth Symphony, Columbus Symphony, American Ballet Theater, and New World Symphony. He has held positions in twelve different orchestras across seven states, serving as principal bass in four of them.

Andrew has performed recitals at Wheaton College, radio broadcasts on WDCB Jazz, and at the Chicago Cultural Center with the Chicago Bass Ensemble and also with bass voice, Andrea Silvestrelli. Andrew served both as Principal Bass and as a Soloist with the National Repertoire Orchestra in 2003. Andrew has presented at the Chicago Bass Festival every year since its inception.

Andrew enjoys teaching positions at the Chicago College of Performing Arts at Roosevelt University and The Wheaton Conservatory in addition to his private studios in Northwest Indiana and at the String Academy of Chicago in downtown Wheaton, Illinois. Information on Andrew's studios can be found on his website www.andersonbassworks.com.

Andrew has a Bachelor of Music Degree from the University of Michigan, a Master of Music Degree from Indiana University, and served as a doctoral teaching fellow at the University of North Texas. Andrew's teachers include Stuart Sankey, Lawrence Hurst, Jeff Bradetich, Larry Zgonc, Bill Clay,Steve Molina, and his father Dave Anderson. Andrew studied string pedagogy with Robert Culver at the University of Michigan, and low string pedagogy at Indiana University with Helga Winolt.

Andrew often appears as a sectional coach at DePaul University, the Elgin Youth Symphony, the Chicago Youth Symphony and Midwest Young Artists, and for nearly a decade has been a coach for the Elgin Youth Symphony's Chamber Music Institute. Andrew has supported public school music programs with benefit recitals in and around his hometown of Portland, Oregon. From 2011 to 2014 Andrew started a before school string ensemble at Westminster Christian School in Elgin, Illinois where he volunteered as the director.

Andrew moved to Lowell, Indiana in 2014 where he now lives with his wife Rose, and their three sons.

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! 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. 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.

http://www.liben.com/FRBio.html

Ira Gold made his Carnegie Hall solo debut in 2011, performing the Vanhal Bass Concerto with the Catholic University of America Symphony Orchestra.

Prior to joining the National Symphony in 2005, Mr. Gold performed with several American orchestras, as section bass with the Minnesota Orchestra and as guest principal bassist with the San Francisco Symphony and Detroit Symphony. He has attended festivals such as the Grand Teton Music Festival, Domaine Forget Music Academy, Bach Festival Leipzig, Aspen, and Tanglewood. Mr. Gold spent several summers at the International Festival Institute at Round Top both as a student and faculty.

He is continually in demand for recitals and master classes, including recent visits at The Juilliard School, Boston University Tanglewood Institute, Penn State University, University of North Texas, the International Society of Bassists Convention, and the Manhattan School of Music. Mr. Gold maintains a studio of private students, has taught lessons and coached chamber music in the National Symphony Orchestra Youth Fellowship program, and has been a member of the double bass faculty at the Peabody Conservatory since 2009. He is also a co-founding member of Peabody Bass Works, a one-week bass camp held every July at Peabody.

An active chamber musician, Mr. Gold has performed with the East Coast Chamber Orchestra, the NSO Millennium Stage Prelude Series, Peabody Conservatory faculty, and the New Orchestra of Washingon.

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. His primary teachers include Edwin Barker and Paul Ellison, and additional studies with Albert Laszlo, Kenneth Harper, Dennis Whittaker, Mark Shapiro, and Harry Lantz.

John started playing Double Bass at the age of 11. He attended The Julliard School during high school and was a scholarship student at Indiana University School of Music in Bloomington, Indiana where he studied with Lawrence Hurst. After graduating from IU, he attended the Manhattan School of Music completing his Masters Degree with Timothy Cobb. Mr. Grillo performed at The Tanglewood Music Center from 1994 to 1996. Other festivals include the National Repertory Orchestra, Festival di Due Mondi in Italy, and Pacific Music Festival in Japan.

John is Principal Double Bass of the Princeton Symphony and is a substitute with the Philadelphia Orchestra. John was a member of the New World Symphony from 1999-2002. His other professional engagements include performances with the New Jersey Symphony, Boston Symphony Orchestra, Pittsburgh Opera, Wheeling Symphony, Memphis Symphony, and the Sarasota Opera. John was a faculty member with The Pittsburgh Music Academy from 2002-2006. Future engagements include the Iris Orchestra, Philadelphia Virtuosi, Pennsylvania Ballet, The Princeton Festival, The Philly Pops, Opera New Jersey and the Princeton Symphony.

This episode features the first part of an interview that Jason recently did with double bassist Weldon Anderson. Weldon has worked in many styles of music, from traditional classical bass playing to very experimental forms of music. The first part of this interview discusses Weldon's early years on the instrument and how he became involved Pittsburgh's Squonk Opera.

Weldon Anderson was a member of the Squonk Opera when they secured a run on Broadway in New York City, and Weldon and Jason discuss the unique situation of getting to Broadway by creating your own show. What an unusual and very interesting trajectory!

Visit the Squonk Opera to learn more about this ensemble http://squonkopera.com

Click here to read the Ben Brantley review of the Squonk Opera

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The music of double bassist Donovan Stokes is featured throughout the episode from his recent album Gandaha. A former student of David Murray and Edgar Meyer, Donovan manages to blend several styles of bass playing and create his own compelling compositions. I am a real fan of Donovan's, and I can't wait to hear more of his playing.

Visit http://donovanstokes.com for more information on this extremely talented and creative bassist.

About Donovan:

Fluent on electric bass and double bass, Dr. Donovan Stokes currently teaches bass and composition in the Department of Music at Valdosta State University in Valdosta, GA and bass in the Schwob School of Music at Columbus State University in Columbus, GA. He earned his D.M.A and M.M from Indiana University Jacobs School of Music and his B.M. from Vanderbilt University. An active soloist, composer, and clinician Stokes is a specialist in the use of amplified and electronically manipulated double bass and performs regularly both as a soloist and a sideman in a variety of musical genres, venues and collaborations.

This week's episode features double bassist Kate Nettleman. Kate was based here in the Chicago area at the time of this recording, but she moved on to become Principal Bass of the Hong Kong Philharmonic and then to a section position in the Minnesota Orchestra.

About Kate

Kathryn Nettleman - as a young student of Neil Courtney, Assistant Principal Bass with the Philadelphia Orchestra, she performed with numerous local ensembles including the Philadelphia Youth Orchestra. During this time she twice received the New Jersey Governor's Award in Arts Education. She attended The Juilliard School as a full-scholarship student of Homer Mensch and following graduation spent a year studying with Don Palma at the Yale University School of Music. For several summers she performed in the Aspen Music Festival and the Spoleto (USA) Music Festival.

Ms. Nettleman then spent two seasons in the New World Symphony in Miami Beach, during which time she was involved in a wide variety of solo and chamber music performances, musical outreach projects, and served as co-chair of a concert series. In 2001, she was awarded by her colleagues there the "NWS Musician of the Year Award for Artistic Leadership." The following year she served as a section member in the Naples Philharmonic Orchestra, where she was active as a performer in introductory musical programs for elementary and middle school children.

Currently living in Chicago, Ms. Nettleman performs regularly with many local ensembles including the Chicago Symphony Orchestra, Saint Louis Symphony Orchestra, Lyric Opera of Chicago, Symphony II, and Grant Park Symphony. She serves as a volunteer friendly visitor to the elderly through Resurrection Health Care Home Health Services. In addition to making music, she enjoys running, gardening, reading, and vegetarian cooking and baking.

You will be hearing some duets on this episode that Kate and Jason recorded at the 2007 Whitewater Winter Bassfest.

This week's episode features a series of tracks from double bassist Andrew Anderson. Andy was our guest on episodes 4 and 7. Andy used a different set-up for each set of tracks, and he describes the strings and other differentiating factors between each track. This is a very interesting episode, and I hope you enjoy it! Track sequence: Koussevitzky Concerto mvt 1 Koussevitzky Concerto mvt 2 Failing Bottesini Concerto No. 2 mvt 1 Frescobaldi Sonata Paganini Moses Fantasy Monti Czardas

This episode of Contrabass Conversations features an interview with composer Bjorn Berkhout. Bjorn discusses his musical training, his various compositions for bass, and the challenges of writing for the double bass. Musical selections from his pieces Steamworks and Rise are also played on the show this week. To find out more about Bjorn's activities, visit http://bjornb.com/. To order Bjorn's double bass music, visit discordia-music.com. We also play a track called Big Green Horn by the band Death Chariot. Visit them online at deathchariot.com, or e-mail [email protected] to get in touch.

We start this episode with Schgweik Farht, one of the movements from David Anderson's seven double bass duets. You will also hear the Bach Gigue from the third cello suite and the second movement of the Schubert Arpeggione Sonata. John will be assisted by Peter Guild- Double Bass(member Pittsburgh Symphony) on the Anderson duets and by pianist Alaine Fink on the Schubert. In this second part of our interview with John Grillo, Jason and John discuss the gear John plays on, his thoughts on French and German bow, his experiences in the opera pit, and his experiences with freelancing. John also offers advice to music school students on how to establish a freelance career in various metropolitan areas.

About John:

John started playing Double Bass at the age of 11. He attended The Julliard School during high school and was a scholarship student at Indiana University School of Music in Bloomington, Indiana where he studied with Lawrence Hurst. After graduating from IU, he attended the Manhattan School of Music completing his Masters Degree with Timothy Cobb. Mr. Grillo performed at The Tanglewood Music Center from 1994 to 1996. Other festivals include the National Repertory Orchestra, Festival di Due Mondi in Italy, and Pacific Music Festival in Japan.

John is Principal Double Bass of the Princeton Symphony and is a substitute with the Philadelphia Orchestra. John was a member of the New World Symphony from 1999-2002. His other professional engagements include performances with the New Jersey Symphony, Boston Symphony Orchestra, Pittsburgh Opera, Wheeling Symphony, Memphis Symphony, and the Sarasota Opera. John was a faculty member with The Pittsburgh Music Academy from 2002-2006. Future engagements include the Iris Orchestra, Philadelphia Virtuosi, Pennsylvania Ballet, The Princeton Festival, The Philly Pops, Opera New Jersey and the Princeton Symphony.