Saturday, March 29th,
2014
Group Photo
Final Concert
Michaelstein seemed like a ghost town today. No lessons, no
concerts, just tireless rehearsals for the final concert. And it paid off. The
event was magnificent. The concert hall was again full, and judging by the
response of the audience the program was surprising, exciting and a great
success. From Bach to Hooverphonic, from Bottesini to Matt Dennis, all spiced
up with an improvisation by Octetto Experimentale.
Concert program:
Szymon Marciniak
Chiel Meijering (*1954): The Ultimate Workout
Jussif Barakat
Johann
Sebastian Bach (1685-1750): from the Cello Suite No. 3 – Bourée 1 and 2
Alexander Tegtmeier
Carl Ditters
von Dittersorf (1739-1799): from the Concerto in E major – Allegro moderato
Lai Wen-Jyun, Kevin Zenteno, Yao Wang
Sergei Koussevitzky
(1874-1951): Concerto in F sharp minor – 1. Allegro, 2. Andante, 3. Allegro
Yao Wang
Daniel van
Goens (1858-1904): Scherzo, Op. 12
* * * pause * * *
Henning Kiehn
Matt Dennis
(1914-2002): Angel Eyes
Octetto Experimentale (director Sebastian Gramss)
Unknown
Composer
Marta Costa Soares
Hooverphonic:
Mad About You
Felix Liebig
Henry Eccles (1685-1745):
from the Sonata in G minor – 1. Largo, 2. Allegro con spirit
Ömer Faruk Dede
Giovanni
Bottesini (1812-1889): from the Concerto in B minor – Allegro moderato
Accompanists: Tomoko
Takahashi, Emilio PeroniFriday, March 28th, 2014
Teacher’s concert: Szymon Marciniak
Concert program:
Adolf Mišek (1875-1955): Sonata in F major, Op. 7
Chiel Meijering (*1954): Ultimate Workout
Participants Recital 2
Thursday, March 27th, 2014
Maggie Urquhart:
Introduction to Early Music
After getting familiar with the violone and the gut string bass,
and the approach to early music, the focus of the 3rd lesson was on applying
that knowledge to playing baroque music and Bach.
Sebastian Gramss: Open rehearsal “Thinking of …” with a Bass 11tett
Since the previous two lessons lead to developing a piece
together, Gramss decided not to go through with the ‘Thinking of…’ 11tett, but
rather continue the work, and finish the piece for the Participants Recital. The
composition consists of 4 elements – long arco notes theme, pizzicato rhythm
theme, building up to the song sang by one of the students – Marta Costa Soares,
and ending with a fade out walking bass.
Participants Recital 1
During lunch hours, all interested participants had a chance to
enlist for the first evening recital, and the response was impressive. Best performers
from today’s and tomorrow’s participants recital will be selected by the
teachers for the final concert on Saturday.
Recital program:
1. Franziska Petzold
2. Hanna Cypionka
3. Javad Javadzade
4. Alexander Tegtmeier
5. Felix Liebig
6. Javad Javadzade
*** pause ***
7. Sebastian Gramss Bass 8ett
8. Marta Costa Soares
9. Jussif Barakat
10. Lai Wen-Jyun
11. Fang Chen
12. Omer Faruk Dede
Maggie Urquhart:
Introduction to Early Music
Continuing the lesson on early music, Margaret brought us closer
to understanding the specificity of playing on gut strings. Students had a
chance to try adapting their playing technique on the old English gut string double
bass. Moving on, we were introduced to Diego Ortiz’s approach to improvisation
both in theory and in practice.
Sebastian Gramss: Jazz & Beyond
Today’s practical group work moved towards building up the
improvised elements for a composition. The first element was slowly building a
cluster of arco notes. For the second, pizzicato element, the group was split
into quartets, playing the same chord in different registers with a set tempo.
Combining the two quartets produced a wonderful play of tempi. The group was
getting more synchronized, developing a better feeling for other players and
one’s role in the team.
Maggie Urquhart –
violone, Jussif Barakat – violone, Pär Engstrand – double bass
Margaret Urquhart decided to take us to a little journey through
time and space, compiling a colorful program. She was accompanied by her
student Jussif Barakat. Although he started playing violone quite recently, he
gave a wonderful performance, contributing perfectly to Margaret’s mastery. They
were joined by Pär Engstrand on the gut string double bass. The quality and
specificity of these pieces was truly brought to light by the subtle sound of
these old instruments, bringing our imagination closer to how they probably
sounded in their time.
Concert program:
I Giovanni Battista Vitali (1632 -1692): Partite sopra diverse
sonate (per il violone)
Toccata
Bergamasca per la lettera B
Chiacona per la lettera B
II Giuseppe Colombi (1645 – 1694):
Tromba a basso solo
Partite sopra il basso di Ciaccona
III Telemann: Sonata in C major (no. V, Vivace)
IV William White: Fantasia (for 2 bass instruments)
V Diego Ortiz: Trattado de glosas
Recercada prima sobre doulce memoire
Recercada ottavaConcert (public): BassMonsters – Classic meets Rock
The band of one of this year’s Kaleidoscope teachers – Szymon Marniciak – attracted a wide audience. Every seat for this public concert was filled. BassMonsters is a band comprised of four double bass players, playing arrangements of popular rock and pop songs, arranged by Richard Whilds. The exception is a composition Bassmonsters, composed by Simon Garcia specifically for them.
Concert program:
Kashmir (Led Zeppelin)
Sweet Child o’ Mine (Guns n’ Roses)
Creeping Death (Metallica)
Don’t Stop Me Now (Queen)
La belle dame (Sting)
Beat it (Michael Jackson)
*** pause ***
Bassmonsters (Simon Garcia)
Nothing Else Matters (Metallica)
Netclip (Freudenstein)
Smooth Criminal (Michael Jackson)
Born To Be Wild (Steppenwolf)
Hotel California (Eagles)Tuesday, March 25th, 2014
Maggie Urquhart:
Introduction to Early Music
Margaret Urquhart is a true expert of the early music and the
history of double bass as an instrument, both in theory and in practice. An endless
source of insight and information, with a warm, interactive approach to
teaching. This first lecture focused on the history of the instrument,
interpretation of its position and application in the early music. Participants
had an opportunity to learn about and try out first hand five string
Krouchdaler violone (8’, from 1692, Basel), six string copy of the Krouchdaler
violone (8’, made by Dan Larson, cc. 1998, USA), and a four string double bass
(about 300 years old, England).
Sebastian Gramss: Jazz & Beyond – A Practical introduction to improvisation
To players accustomed to classical music, dealing with
improvisation often seems quite tricky. On one hand, it allows more freedom and
flexibility, and on the other it asks for more creativity and responsibility. Through
practical work in a group, Gramss tried to familiarize the students with the
ways of thinking about and approaching improvisation. As in all performances,
there’s a great difference between a solo improvisation and playing with
others, both in terms of content and choices you make. Since this was a group
lesson, the emphasis was set on relating to other players.
Exhibitor’s presentation: Bass, bow and string makers present themselves and their work
Most experienced musicians are very particular with their choice
of the instrument and equipment, and if you find yourself in a situation to witness
a casual conversation about the double bass between players, it will often lead
to the topics such as types of rosin, bows and hair choice, string types, etc. This
event offered a possibility of the first-hand information from people who
actually make them. A number of bass, bow and string makers did a little ‘show
and tell’ giving us an insider’s insight into the secrets of the trade.
Teacher’s concert:
Silvio Della Torre
Silvio Della Torre – double bass, Tomoko Takahashi – piano
Concert program:
Stefan Schäfer (*1963): Histoires
Cérémonie
Sicilienne
Vocalise
Prière
Destinée
L’Adieu
Dance Joyeuse
Monday, March 24th,
2014
The official opening
of Kontrabass Kaleidoscope set the tone for the whole week – a combination of
serious work, casual humor, and interactive collaboration among participants
and teachers. The host, Julia Ivancenco, provided present participants with necessary
information about the workshops and the stay in Michaelstein. Then she found a
playful way to get everyone to know each other – she had everyone sit in
alphabetical order, and then pair up, having 2 minutes to get to collect some
information, and then present the other person to everyone. It is always interesting
to see what we choose to say about ourselves, and what we decide to ask other
people.
Those who are interested in working on themselves without the
instrument, have an opportunity to join Silvio Della Torre’s morning meditation
every day from 7:30 to 8:15 a.m.
After the introduction, participants had a chance to familiarize
themselves with Angela Gebler’s
physio and fitness for double bass players, a practice that is available every
morning after breakfast. This class is an excellent combination of warm up,
custom made for the double bass players, and instructions on how to take care
of your body while playing, avoiding pain and long-term injuries. Angela has
been a part of Kaleidoscope team for years, also providing personal treatment to
both teachers and participants during the workshop. With her previous
experience, she is proving to be a wonderful unofficial host sharing stories
and useful information on how to get around and fully enjoy the stay.
After lunch, the first block of lessons started – DaXun Zhang
and Petru Iuga broke the ice and held group lessons for all participants. The
structure of the lessons is left to the will of the teacher, so they vary from
lectures to masterclasses.
DaXun Zhang - group lesson
Explaining his process, he emphasized that, for start, the
process of learning to play a new piece needs to be simple, without ornaments
and advanced techniques. The first thing is to get the piece into the muscle
memory, in order to get to a point when you no longer need to think about what
you are playing, but it comes naturally instead. Singing the melody helps to memorize
it. The emphasis needs to be first on the rhythm, then on the quality of the
sound. Work on speed and ornaments comes after you have a hold of the piece.
Teacher’s concert:
Sebastian Gramss
Moving away from the classical music towards contemporary
approach to double bass, this solo performance offered a great insight into a
wide range of the possibilities of the instrument. Gramss uses a full capacity
of the bass to produce sound – every part of sting and body is applied. We had
an opportunity to see many extended techniques in action – two-hand pizzicato,
playing with two bows, sonic events… All pieces (except Irish song) were
composed by Sebastin Gramss himself. The last two pieces Gramss dedicated to
Stefano Scodanibbio, as a friend, a colleague, and a source of inspiration.
Concert program:
Opening
Sonic
Irish Song
Free Improvisation
Research 1
Research 2
Prospect Park Blues
Fluidum
VoyagerSunday, March 23rd, 2014
Sunday was a day for settling in and relaxing. Those who arrived
earlier had an opportunity to see the final concert of Double Bass Kaleidoscope
Junior, which took part from March 21st to 23rd. After
dinner, the day ended with a treat - a double concert of two of this year’s
Kaleidoscope teachers – Petru Iuga and DaXun Zhang. In the first set the
audience had a pleasure to hear Petru Iuga on double bass accompanied by Emilio
Peroni on the piano. The second set was reserved for DaXun Zhang on double
bass, accompanied by Tomoko Kashiwagi on the piano. An inspiring interpretations
of music from Romania and Mongolia.
Concert program:
PETRU IUGA &
Emilio Peroni
Béla Bartók - Romanian folk dances
Jocul cu bâta (Stick Dance)
Brâul (Sash Dance)
Pe loc (In One Spot)
Buciumeana (Dance from Bucsum)
Poarga Româneasca (Romanian Polka)
Maruntel (Fast Dance)
Cirpian Porumbescu - Romanian Ballad (Andante flebile)
Teppo Hauta-Aho - Sancho's Dream (Allegretto capriccioso)
Camille Saint-Saëns - Introduction et Rondo Capriccioso (Andante
manincolico, Allegro ma non troppo)
DAXUN ZHANG & Tomoko Kashiwagi
Mongolian Traditional – Horses
Yan-Jun Hua – Moon Reflected in the Spring
Adolf Mišek – Sonata No. 2
I.
Con fuoco
II.
Andante cantabile
III.
Furiant. Allegro energico
IV.
Finale. Allegro appasionato