What a wonderful program:-
Richard Strauss - Der Rosenkavalier Suite
Schumann - Cello Concerto
Brahms - Symphony no 4
This was my first gig in St Georges, Bradford - nice hall, a bit dry under the ear but a bit further away the band sounded great.
And a real thrill for me was that I shared a desk with Diana Milner, my teacher from 30 years ago. We had a lot of fun and caught up on lots of news.
Saturday, December 11, 2010
Friday, December 3, 2010
Opera North - Russian Programme 4/12/2010
We are in the midst of a chilly snap in the UK - our weather normally comes from the Gulf Stream over the Atlantic, tipping wet warmer weather onto us at this time of year. Unfortunately the stream took a Left to Greenland, leaving us with cold weather from the North East. So its wonderful to be working with Opera North but travelling up to Leeds has been "fun"!
We have a section of 6 for a program of Rimsky Korsakov - May Nights, Prokofiev 3rd Piano Concerto with John Lill and Stravinsky's The Firebird (1945). Am sharing a desk with Jeff Box, ex principal bass with the BBC Phil, for decades. He is a lovely guy, great sense of humour, huge experience and is still a star player at the ripe old age of......now that would be telling wouldnt it!
I write this entry from Bristol - we had rehearsals on Tues and Wed this week, the band had a gig in Huddersfield on Thursday (in theory) with a smaller string section due to the hall size, so I was not booked for that one. But am going back up tomorrow for the Leeds gig on Saturday 4/12.
I have just launched my website at http://www.stuartriley.info/, and will be publishing orchestral excerpts to that site from now on.
We have a section of 6 for a program of Rimsky Korsakov - May Nights, Prokofiev 3rd Piano Concerto with John Lill and Stravinsky's The Firebird (1945). Am sharing a desk with Jeff Box, ex principal bass with the BBC Phil, for decades. He is a lovely guy, great sense of humour, huge experience and is still a star player at the ripe old age of......now that would be telling wouldnt it!
I write this entry from Bristol - we had rehearsals on Tues and Wed this week, the band had a gig in Huddersfield on Thursday (in theory) with a smaller string section due to the hall size, so I was not booked for that one. But am going back up tomorrow for the Leeds gig on Saturday 4/12.
I have just launched my website at http://www.stuartriley.info/, and will be publishing orchestral excerpts to that site from now on.
Friday, November 12, 2010
Mozart 40 - 1st mov no 2
Fig 1 my versionAnd my You Tube clip is:-
http://www.youtube.com/watch?v=a73Exk03MtI
I base my version on Owen Lee's (see below), with only minor fingering changes, the main one being the first 5 notes. I prefer playing the G up on the A string, rather than on the D in Lee's version.
The versions in the literature include:-
IMC Orchestral Excerpts (Fred Zimmerman), Vol I, p112 - has the notes, but no clues as to the all important fingerings
Ludwig Streicher, My way of playing the double bass vol 3, p23 - almost identical to Owen Lee's version but with a little more reliance on 4
Owen Lee tutorial in The Double Bassist - as with the 4th mov excerpt, this is a fantastic article.
Streicher has a useful LH exercise for the intonation of the double stops:-
How to prepare (long term):-
The main issues are:-
I. quick string crossings
II. keeping in time when the rhythm changes in the middle section
The tricky are the string crossings. Lee mentions that there are two ways of doing this:-
start down - this works out getting into and out of the passage, but is the "wrong way around"
start up - I feel this makes the actual string crossed quavers (bars 191-197 and 211-216) easier, but there will inevitably be a couple of ups to get the bowing that way around, either before or after the passage, and its difficult to get this sounding the same in time
Lee mentions that the player should do whatever sounds best, but he starts down. I have swung both ways on this, but on balance I play it starting down. It takes some slow practice with the metronome to get it working but its possible and worth the effort. In the UK auditions are done with no screens, and I am willing to bet that if a candidate played this passage starting up bow they would be asked to play it again starting down.
It is easy to lose the pulse when the rhythm changes in bar 198 - I have to practice slowly with a metronome to keep this passage in time.
What is being tested - string crossings, double stopped intonation, rhythm, shifting, flexibility and mobility
Notes written on the part - I put reminders to myself to read in the audition just before I play:-
Sautille - from the string
bow close to D and G
Set tempo - think viola quavers at start of the movement
Extension - open, E flat
Tempo - Lee suggests 100
Friday, November 5, 2010
Opera North - The Merry Widow, 4/11/2010
I got a phone call from Opera North, one of the guys was sick, so I shot up to the Lowry in Manchester, to do The Merry Widow. Its always odd to go into the middle of a season - the band know the piece inside out, I am sightreading. I laugh at some of the gags in the dialog, but I am the only one as the band have heard them many times before. Thank goodness I was sharing a desk with Claire Sadler, who was lovely and very clear - she guided me thro a tricky gig. There was not a lot to play, it just where you play it that was the issue! The band are fantastic - as tight as a drum. All in all, it was a great show, and a good day out. And it was great to meet Michael Escreet - I had heard his name lots, as he was a bass player with the Beeb Phil in Manchester for many years.
Also I bumped into principal cello Sally Pendlebury - Sally is my vintage and like me ex Manchester Youth Orchestra, many years ago. Here were are, back in Manchester, 30-odd years later.
Its noticeable that everyone is playing on a sensational old instruments here. There is a real culture of playing fantastic sounding old basses in the UK, in all orchestras. I recently did a gig with Nicko, a very good amateur player who plays on a fantastic Lott bass (probably junior, but might be a Grandaddy). And I have been chatting to Graham Appleton (http://www.finetune.co.uk/), another excellent amatuer player who plays on a venitian bass, Busan school. Wow.
Also I bumped into principal cello Sally Pendlebury - Sally is my vintage and like me ex Manchester Youth Orchestra, many years ago. Here were are, back in Manchester, 30-odd years later.
Its noticeable that everyone is playing on a sensational old instruments here. There is a real culture of playing fantastic sounding old basses in the UK, in all orchestras. I recently did a gig with Nicko, a very good amateur player who plays on a fantastic Lott bass (probably junior, but might be a Grandaddy). And I have been chatting to Graham Appleton (http://www.finetune.co.uk/), another excellent amatuer player who plays on a venitian bass, Busan school. Wow.
Sunday, October 31, 2010
Mozart 40 - 1st mov no 1
As with the last movement excerpt, there are a number of ways to play this.
Fig 1 my version
And my You Tube clip is:-
http://www.youtube.com/watch?v=aRhnApcv4gA
I base my version on Owen Lee's (see below), with only minor fingering changes in the bar before C.
The versions in the literature vary much less for this excerpt than for the 4th movement:-
IMC Orchestral Excerpts (Fred Zimmerman), Vol I, p11-12 - has the notes, but no clues as to the all important fingerings
Ludwig Streicher, My way of playing the double bass vol 3, p23-24 - almost identical to Owen Lee's version but with a little more reliance on 4
Owen Lee tutorial in The Double Bassist - as with the 4th mov excerpt, this is a fantastic article. I have not replicated all the articulations, but the fingerings are:-
Fig 2 Owen Lee version
Lee makes some excellent points in his article, including:-
1 two styles of music - first subject theme (played by the fiddles at the opening of the movement) which is the anacrusis plus 115-117, then the anacrusis plus 123-125. This is the tune and should be played thus. Then there is the accompaniment staccato quaver figure bars 118-121 and 126-137.
2 tempi and rhythm - play at crochet = 100 and keep this tempo throughout. The performer must resist the temptation for the theme to drag and the quavers to rush.
3 phrasing - again Lee recommends phrasing to the end of the lyrical theme passage, which makes sense musically as well as naturally opposing any tendancy to drag that passage
How to prepare (long term):-
I. work on each style alone. I do the following exercises to get the feel and style in my head and the bow stroke (on for the theme, sautille/off-ish for the staccato accompanying figure:-
Fig 3a theme exercise (OK, this has a horrible key change in the middle, but the point is to this is get the style right). The slurred quavers should be in time, not rushed or clipped. And the crochets are not too short, but not too long - Lee marks them dot + line.
Fig 3b staccato figure exercise 1 - play this repeated (as a round) until mastered, especially the shifts to the D and C#
Fig 3c staccato figure exercise 2 - play this repeated until mastered. This is harder than 3b, due to the fingerings and string crossings. I have to think about preparing the LH for the two finger bars (4-4 and 1-1) at a slow tempo and the string crossing is tricky - with the exception off the first D every other note in the first bar is on a different string, but then there are two on the A string (C last note of bar 1 and B flat first note of bar 2). I find myself wanting to fall onto the E string a little early, and this must be resisted to keep the passage in tempo and not play the bottom F too soon.
II. play whole passage - after working on the two styles in fig 3, play the whole passage at a slower tempo, to master the transitions between the two styles. This passage reminds me of a triathlon - its OK doing the swim, bike and run sections but the transitions between each one are vital. Its important not to pre-empt the staccato passage by rushing the last two slurred quavers. I start working on this at around crochet = 84
III. gradually increase tempo up to crochet = 100. Go back to Fig 3 at your new tempo, when perfected run the whole passage. Only when its right, move up a metronome marking.
How to prepare (short term, in the audition warm up room) - I do a shortened version of the Long Term prep. Warm up, get the metronome out and set to something like crochet = 92, do the exercises fig 3a-3c, run the passage, fix errors, get it right at your tempo, increase the metronome marking...
What is being tested - just about everything! Rhythm, flexibility and mobility, articulation, shifting, musicianship
Notes written on the part - I put reminders to myself to read in the audition just before I play:-
Arrow forward, dont drag (bars 115-117 and 123-125) and hairpin up thro these bars
Arrow back, dont rush (bars 118-121 and 126-137) and phrase off at the end
Set tempo - think viola quavers at start of the movement
Extension - closed
Tempo - Lee suggests 100
Rhythm - difficult to switch between the two main styles in a steady tempo
Bow control - tricky to switch from on to off in a controlled tempo, and vice versa
And my You Tube clip is:-
http://www.youtube.com/watch?v=aRhnApcv4gA
I base my version on Owen Lee's (see below), with only minor fingering changes in the bar before C.
The versions in the literature vary much less for this excerpt than for the 4th movement:-
IMC Orchestral Excerpts (Fred Zimmerman), Vol I, p11-12 - has the notes, but no clues as to the all important fingerings
Ludwig Streicher, My way of playing the double bass vol 3, p23-24 - almost identical to Owen Lee's version but with a little more reliance on 4
Owen Lee tutorial in The Double Bassist - as with the 4th mov excerpt, this is a fantastic article. I have not replicated all the articulations, but the fingerings are:-
Fig 2 Owen Lee version
Lee makes some excellent points in his article, including:-
1 two styles of music - first subject theme (played by the fiddles at the opening of the movement) which is the anacrusis plus 115-117, then the anacrusis plus 123-125. This is the tune and should be played thus. Then there is the accompaniment staccato quaver figure bars 118-121 and 126-137.
2 tempi and rhythm - play at crochet = 100 and keep this tempo throughout. The performer must resist the temptation for the theme to drag and the quavers to rush.
3 phrasing - again Lee recommends phrasing to the end of the lyrical theme passage, which makes sense musically as well as naturally opposing any tendancy to drag that passage
How to prepare (long term):-
I. work on each style alone. I do the following exercises to get the feel and style in my head and the bow stroke (on for the theme, sautille/off-ish for the staccato accompanying figure:-
Fig 3a theme exercise (OK, this has a horrible key change in the middle, but the point is to this is get the style right). The slurred quavers should be in time, not rushed or clipped. And the crochets are not too short, but not too long - Lee marks them dot + line.
Fig 3b staccato figure exercise 1 - play this repeated (as a round) until mastered, especially the shifts to the D and C#
Fig 3c staccato figure exercise 2 - play this repeated until mastered. This is harder than 3b, due to the fingerings and string crossings. I have to think about preparing the LH for the two finger bars (4-4 and 1-1) at a slow tempo and the string crossing is tricky - with the exception off the first D every other note in the first bar is on a different string, but then there are two on the A string (C last note of bar 1 and B flat first note of bar 2). I find myself wanting to fall onto the E string a little early, and this must be resisted to keep the passage in tempo and not play the bottom F too soon.
II. play whole passage - after working on the two styles in fig 3, play the whole passage at a slower tempo, to master the transitions between the two styles. This passage reminds me of a triathlon - its OK doing the swim, bike and run sections but the transitions between each one are vital. Its important not to pre-empt the staccato passage by rushing the last two slurred quavers. I start working on this at around crochet = 84
III. gradually increase tempo up to crochet = 100. Go back to Fig 3 at your new tempo, when perfected run the whole passage. Only when its right, move up a metronome marking.
How to prepare (short term, in the audition warm up room) - I do a shortened version of the Long Term prep. Warm up, get the metronome out and set to something like crochet = 92, do the exercises fig 3a-3c, run the passage, fix errors, get it right at your tempo, increase the metronome marking...
What is being tested - just about everything! Rhythm, flexibility and mobility, articulation, shifting, musicianship
Notes written on the part - I put reminders to myself to read in the audition just before I play:-
Arrow forward, dont drag (bars 115-117 and 123-125) and hairpin up thro these bars
Arrow back, dont rush (bars 118-121 and 126-137) and phrase off at the end
Set tempo - think viola quavers at start of the movement
Extension - closed
Tempo - Lee suggests 100
Rhythm - difficult to switch between the two main styles in a steady tempo
Bow control - tricky to switch from on to off in a controlled tempo, and vice versa
Thursday, October 28, 2010
Mozart 40 - 4th movement
Every serious bass player will know this one. In my view its one of the harder excerpts in the repertoire, if not the hardest. I play it like this:-
Fig 1b - my version, bar 229And my video clip is:-
http://www.youtube.com/watch?v=jD1ay8kXfx8
There are a number of versions in the literature, including:-
IMC Orchestral Excerpts (Fred Zimmerman), Vol I, p12 - has the notes, but no clues as to the all important fingerings
Ludwig Streicher, My way of playing the double bass vol 3, p23-24 - goes for the string crossing option
Fig 2a Streicher version bar 49
Fig 2b Streicher version bar 229
Owen Lee tutorial in The Double Bassist - this is a fantastic article, a must read for any serious bass player with an audition looming. Lee opts for the thumb on the D string option:-
Fig 3a Owen Lee version bar 49
Fig 3b Owen Lee version bar 229
And there are many variations on the three options above.
There are a number of issues the player needs to consider before deciding on how to play this passage:-
1 string crossing vs shifts. This is a dilemma we face with all the time as bass players and is a huge issue with this passage. When given the choice I would generally prefer to shift than cross strings, especially slurs at fast tempi
2 extended fingering vs conventional 1-2-4. I play a number of passages in 3rd and 4th positions and as I have a big hand I stretch the minor 3rds to avoid a shift or a string crossing. The reason I play them in that position is that the hand shape is smaller than in 1st position and therefore the extended fingering is an option that works for me
3 bow stroke - how off the string should it be? I think that at the proper tempo it is very dangerous to have the bow flying around too much. I follow Lee's advice of using a sautille stroke for the bars with 8 quavers (eg bar 2, 4, 6 etc) but move more on the string for the bars with slurs (bars 1, 3, 5 etc).
How to prepare (long term) - Lee talks about practicing this daily, for 20 years! It is not the passage you can pick up in the mail and play in an audition two weeks later - I think it has to be under the fingers all the time. I work on this daily, slowly, as an exercise in mobility. Before practicing it, at minim = 84 I do these exercises to get the rhythm in my head, and RH.
Fig 4 articulation exercises
This passage is not just a RH passage - the articulation is very difficult to keep in time in the slurred bars (1, 3, 5, etc) and it is difficult to switch from on the string (bar 1) to sautille (2) and back to on (3 etc) and keep in time
Practice with the metronome until it is perfect a slower tempo. I sometimes have to break it down into 2 bar chunks to be repeated, for example bars 49-50 (changing to last note of 50 to an A, to make it easier to loop), 51-52 etc.
Lee marks the music in two bar phrases, the 1st leading to 2nd, the 3rd to the 4th etc. It is important to make music out of this passage - achieving the daunting technical challenges alone will only leave the listener with just a stream of notes. But Lee's approach is very clever in my view - I have to resist my natural tendancy to drag bar 1 and rush bar 2. Playing a cresc in bar 1 and a dim in bar 2 will naturally help counterbalance those tendancies - well it works for me.
How to prepare (short term, in the audition warm up room) - I do a shortened version of the Long Term prep. Warm up, get the metronome out and set to something like minim = 100, do the exercise fig 4, run the passage, fix errors, get it right at your tempo, increase the metronome marking...
What is being tested - just about everything! Rhythm, flexibility and mobility, articulation, shifting, musicianship
Notes written on the part - I put reminders to myself to read in the audition just before I play:-
Arrow forward, dont drag (bars 1, 3, 5, etc) and hairpin up thro these bars
Arrow back, dont rush (bars 2, 4, 6, etc) and hairpin down thro these bars
Short bows
Keep bow close to G and D string to make strings crossings easier
Relax and breathe
Extension - closed
Tempo - Lee suggests 120-126 and he makes the excellent point that it is better to be solid, in a slightly slower tempo than do crash and burn at a quicker one. I play this at 120.
Rhythm - difficult, and not just the quavers. It is very easy to get the latter parts wrong, such as quaver into bar 9, the minims at 15 and the crochets at 17. Keep that pulse, two (I think in 2 al though Lee recommends 4) in a bar in your head
Bow control - small bows, practice the two strokes, and the exercise Fig 4
Fig 1a - my version, bar 49
http://www.youtube.com/watch?v=jD1ay8kXfx8
There are a number of versions in the literature, including:-
IMC Orchestral Excerpts (Fred Zimmerman), Vol I, p12 - has the notes, but no clues as to the all important fingerings
Ludwig Streicher, My way of playing the double bass vol 3, p23-24 - goes for the string crossing option
Fig 2a Streicher version bar 49
Fig 2b Streicher version bar 229
Owen Lee tutorial in The Double Bassist - this is a fantastic article, a must read for any serious bass player with an audition looming. Lee opts for the thumb on the D string option:-
Fig 3b Owen Lee version bar 229
And there are many variations on the three options above.
There are a number of issues the player needs to consider before deciding on how to play this passage:-
1 string crossing vs shifts. This is a dilemma we face with all the time as bass players and is a huge issue with this passage. When given the choice I would generally prefer to shift than cross strings, especially slurs at fast tempi
2 extended fingering vs conventional 1-2-4. I play a number of passages in 3rd and 4th positions and as I have a big hand I stretch the minor 3rds to avoid a shift or a string crossing. The reason I play them in that position is that the hand shape is smaller than in 1st position and therefore the extended fingering is an option that works for me
3 bow stroke - how off the string should it be? I think that at the proper tempo it is very dangerous to have the bow flying around too much. I follow Lee's advice of using a sautille stroke for the bars with 8 quavers (eg bar 2, 4, 6 etc) but move more on the string for the bars with slurs (bars 1, 3, 5 etc).
How to prepare (long term) - Lee talks about practicing this daily, for 20 years! It is not the passage you can pick up in the mail and play in an audition two weeks later - I think it has to be under the fingers all the time. I work on this daily, slowly, as an exercise in mobility. Before practicing it, at minim = 84 I do these exercises to get the rhythm in my head, and RH.
Fig 4 articulation exercises
This passage is not just a RH passage - the articulation is very difficult to keep in time in the slurred bars (1, 3, 5, etc) and it is difficult to switch from on the string (bar 1) to sautille (2) and back to on (3 etc) and keep in time
Practice with the metronome until it is perfect a slower tempo. I sometimes have to break it down into 2 bar chunks to be repeated, for example bars 49-50 (changing to last note of 50 to an A, to make it easier to loop), 51-52 etc.
Lee marks the music in two bar phrases, the 1st leading to 2nd, the 3rd to the 4th etc. It is important to make music out of this passage - achieving the daunting technical challenges alone will only leave the listener with just a stream of notes. But Lee's approach is very clever in my view - I have to resist my natural tendancy to drag bar 1 and rush bar 2. Playing a cresc in bar 1 and a dim in bar 2 will naturally help counterbalance those tendancies - well it works for me.
How to prepare (short term, in the audition warm up room) - I do a shortened version of the Long Term prep. Warm up, get the metronome out and set to something like minim = 100, do the exercise fig 4, run the passage, fix errors, get it right at your tempo, increase the metronome marking...
What is being tested - just about everything! Rhythm, flexibility and mobility, articulation, shifting, musicianship
Notes written on the part - I put reminders to myself to read in the audition just before I play:-
Arrow forward, dont drag (bars 1, 3, 5, etc) and hairpin up thro these bars
Arrow back, dont rush (bars 2, 4, 6, etc) and hairpin down thro these bars
Short bows
Keep bow close to G and D string to make strings crossings easier
Relax and breathe
Extension - closed
Tempo - Lee suggests 120-126 and he makes the excellent point that it is better to be solid, in a slightly slower tempo than do crash and burn at a quicker one. I play this at 120.
Rhythm - difficult, and not just the quavers. It is very easy to get the latter parts wrong, such as quaver into bar 9, the minims at 15 and the crochets at 17. Keep that pulse, two (I think in 2 al though Lee recommends 4) in a bar in your head
Bow control - small bows, practice the two strokes, and the exercise Fig 4
Tuesday, October 26, 2010
Forest Phil - Sun 24/10/10
I spent a very jolly Sunday up in Walthamstow, NE London as guest principal with Forest Philharmonic, who must be the best amateur band in the UK. Andrew Gourlay was conducting and we played Russian music:-
Shostakovitch - Festival Overture
Aruturian - Trumpet Concerto
Tchaikovsky - Fifth Symphony
It was a fantastic gig - quite remarkable that the following day most of the players would return to thier day jobs. The bass section was smokin - no passengers, and a fantastic sound coming out of a Kennedy, two Lotts and a Roger Dawson bass. Good job really as the Shosters and Tchiak are a hell of a play for the basses. We had a lot of fun, as well as a few pints of Essex Boys, as you do.
Shostakovitch - Festival Overture
Aruturian - Trumpet Concerto
Tchaikovsky - Fifth Symphony
It was a fantastic gig - quite remarkable that the following day most of the players would return to thier day jobs. The bass section was smokin - no passengers, and a fantastic sound coming out of a Kennedy, two Lotts and a Roger Dawson bass. Good job really as the Shosters and Tchiak are a hell of a play for the basses. We had a lot of fun, as well as a few pints of Essex Boys, as you do.
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