Here is the next track in the Virtual Master Class Project. This is a recording of the first page of the Bottesini Concerto No. 2. Leave criticism, advice, practice tips, and the like by clicking on the ‘comments’ link below the player.
Sometimes these players take 10-20 seconds to load, so give it a little time to play if it doesn’t start right away. Read more about this project here, or click here to listen to all the tracks. There aren’t many now, but you can help with that by submitting tracks or telling students & friends about this opportunity.
E-mail me submissions here (jsh177@yahoo.com)
Bottesini Concerto No. 2 mvt 1
Candidate 4
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This is a great start. I woud go from here to take apart each phrase, each measure, even each note, to check out the sound, rhythm, and intonation Be sure you have what you want. Then, go ahead and forget all that and play the piece like its a true expression of your soul. Don’t play like a student, or like you’re trying to play it well. Just let it rip.
Bassist’s interests include late night jam sessions and international terrorism!
From the NYTimes:
“A jazz bassist and martial arts expert charged two years ago in an elaborate undercover terrorism investigation pleaded guilty today to plotting to teach would-be Al Qaeda operatives how to wage jihad with hand-to-hand combat.”
Excellent control and nice sense of phrasing–bravo!
Sounds great. Some pitchy spots but it’s a great start. Good sense of musicality and good control. Work on efficiency of the bow so you avoid the unwanted blips in the tone. Keep up the good work.
Good job overall. Interesting phrasing – beware extremes of rubato. You have to remember how the piano part (that was not present in the performance) functions. You can take ‘some’ time, but you have to be sensitive not to overindulge, even if it is convenient technically speaking.
Also, be careful how you end phrases by cutting off the resonance of your instrument. Since Bottesini is composing in the ‘bel canto’ vocal style, there are some swells on the opening of notes that stick out as being very non-vocal, so be careful. Also, when practicing these sections be very careful to literally sing the passages in odrer to find where a capable singer would naturally need to breathe. The voice is the model, the bass is the instrument to achieve that artistic slant.
Overall, a strong performance. Good job.