Double-Bass Notebook

Description

Double Bass — Webster’s dictionary defines “tradition” as “the handing down of statements, beliefs, legends,customs, etc. from generation to generation especially by word of mouth or by practice; along-established or inherited way of thinking or acting.” As double bassists we are proudlypart of a centuries-old tradition of string playing. During the latter half of the nineteenthcentury our more recent ancestors generated schools of playing that addressed the technicaladvances necessary to prepare students for the rigors of the more complex compositionalstyles and consequently more difficult double bass-part writing of the day. The operas andtone poems of Richard Strauss, the symphonies of Bruckner and Mahler and the advancedorchestrations of Schoenberg and Berg challenged double bassists in ways heretoforeunexplored.The traditions of the author of this indispensable volume, Orin O’Brien, began indirectlywith Franz Simandl, his pupil Ludwig Manoly, whom Dvořák brought to America and whowas principal bass at the New York Philharmonic, and then continued directly through theteaching of Herman Reinshagen (associate principal bass at the New York Philharmonicduring Mahler’s time as Music Director) and Frederick Zimmermann. I was very fortunatein my formative years to have been able to study with Frederick Zimmermann, briefly.When Zimmermann passed away, I was welcomed to study with Orin O’Brien. Thepositive, nurturing environment of her studio cannot be exaggerated. In addition to beingtaught how to negotiate our noble instrument in a beautiful and musical way, students wereimmersed in the culture of our art: examining scores, listening to recordings, discussingstylistic differences and sharing our experiences and concerns. We were instilled with a deepsense of responsibility: the responsibility of always playing one’s best and of bringing all ourtalents and abilities to bear when performing. We were also taught respect: respect for thecomposer’s intentions, the conductor’s directives and respect for our colleagues.Now this wonderful volume brings all of these elements together and provides studentand teacher alike with a practical compendium of the essentials necessary for the developmentof the musician double bassist. It is an inspired work compiled over many years of performingand teaching at the very highest level. There are no tricks or technical gimmicks and noself-aggrandizing. There is only a sharing of valuable resources from our past and present,resources that can help to make us better performers, better artists and help us reconnect toour traditions. Highly-esteemed pedagogue and virtuoso Orin O'Brien offers a lifetime of insight in her acclaimed Double-Bass Notebook: Ideas, Tips and Pointers for the Complete Professional. This volume draws together musical examples and intuitive texts which O'Brien has integrated as an essential part of her teaching studio. Works spanning from Zimmermann and Simandl, to articles from contemporary colleagues, form a strong and definitive compendium. Practical and professional advice is given on topics such as practicing, auditioning, and repertoire.