Teaching & Playing masterclass

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There is much room for discussion regarding these
different possibilities as well as Sperger’s ottava alta

Vanhal Double bass ConCerto indications, but that is for another article. I play the
concerto in C, because the sounding key of D major
has a bright, festive character that fits with the
Double bassist Christine Hoock emphasises serenity, clarity and flow, and the importance of confident, forward-driving themes of the piece.
preparation when tackling the first movement of this overtly Classical piece However, one thing is for sure – when you play with
modern equipment, with the bass tuned in 4ths, the
technical demands are quite different from those
involved when using the original tuning.

F
KEEPING THE FLOW
or me, Vanhal’s Concerto will always be a ‘youthful’ piece. I learnt it while When playing the Vanhal Concerto you should aim for
studying in Frankfurt, where I performed it with my university orchestra. It’s elegance, natural balance and flow, brightness,
a sparkling work, with clear melodies, positive energy, a beautiful Adagio, simplicity, clear heartbreaking melodies, a cultivated
virtuoso passages and opportunities to create individual cadenzas. bow response, elaborate articulation and dynamics, and
We are lucky that Vanhal was inspired to write a double bass concerto. Bassists such serene phrasing. The Allegro moderato, quite a typical
as Kämpfer, Pischelberger and Sperger were creating a sort of double-bass-solo boom flowing opening movement, should not be hurried.
in Vienna, and it may have been his acquaintance with Dittersdorf, or inspiration from I play the first note with emphasis (as indicated by the
Sperger, that led to Vanhal composing his concerto between 1786 and 1789. The only marking in the part), with vibrato played auf den
preserved duplicate of the manuscript is in Sperger’s hand and is part of Sperger’s Kopf (‘on the head’). In other words, the vibrato starts with extreme clarity, and this has to be exaggerated
From Vanhal Double archive – now housed at the Landesbibliothek in Schwerin, Germany. as soon as your finger hits the note, which is shaped in front of a large audience.
Bass Concerto. urtext more by arm weight and momentum than by bow It is the same in the language of music, where your
edition, piano reduction, THE ‘IDEAL’ TUNING attack; the sonority is open and projecting. bow is your voice. The fine, noble expressivity of the
paper bound. Including
pf parts in C major and D
Sperger’s manuscript copy contains many additional 8va indications. The concerto was Although you should keep in mind the eight-bar Classical style demands a particularly elaborate and
major; db parts for solo, originally written in D major for a double bass with Viennese tuning (A1–D–F#–A). In this phrase, it’s important to express each note with varied bowing ‘palette’. Take care not to let the bow
orchestra and Viennese tuning, every note is conveniently playable; open strings and harmonics aid the natural, direction, and the rests should form part of the jump too high while articulating fast détaché lines (for
tuning. Cadenzas swinging, joyful tone of the concerto. Most Classical double bass concertos were written in natural breath of the phrase. Never lose the serenity example, bars 30, 78 and 124). If you slightly angle the
tobias glöckler and
D but performed in E flat. At that time it was common practice to tune the bass one while expressing the wonderful theme. I play each bow, it will bounce very close to the string and you will
Johannes Sperger.
Editor Tobias Glöckler; semitone higher for solo performance, so that while the bass still had the open strings, the grace note in bar 25 as a rhythmic sighing figure, have more control over it, making it more agile so that
pf reduction Christoph orchestra had to accompany in the duller-sounding key of E flat. This gave the bass more as a semiquaver (s) on the beat, leaning on you can effortlessly create dynamic and musical lines.
Sobanski; fingering db power and a more brilliant, relaxed and natural sound that would project over the orchestra. the dissonances and the descending melodic line. At the same time, the string stays under control,
tobias glöckler. Order
Nowadays we can play the concerto in any of the following ways: on an original One of the secrets of flowing, Classical phrasing is allowing you to implement your ideas directly, as you
no. HN 979, ISMN
979-0-2018-0979-3, instrument and period strings, in E flat; on a modern instrument in the key of C (sounding a consciously played up-beat that leads into and remain connected with both the instrument and the
€22.50. Printed with D) for solo tuning; in D, sounding D, with orchestra strings; sounding in E, with solo prepares the following strong beat, which should bow. This is how you can reach your audience.
permission of G. Henle strings; or sounding E flat, with high-tuned orchestra strings or low-tuned solo strings. sound effortless. If you struggle with an emphasised The conscious use of bow weight, bow speed
Verlag, Munich © 2015
note (such as a down-beat), it means that there was and contact point will produce your wide scope
no proper preparation leading up to it. of colours. It’s best to practise thinking about these
the At letter C, I play the double appoggiatura quite elements while playing at a medium tempo with the
soloist
airily, before the beat. I like the following bars here, as original dynamics (many dynamic changes occur
‘If you want someone to listen they express a light, contrasting colour. However, they during the course of a bow). It is difficult to stay flexible
Name to you, you must express are tricky for the left hand. I play them in one position
to avoid portamentos: the concentrated left hand, with
when playing over the fingerboard at the frog, so avoid
doing this, or your interpretation will suffer too.
yourself with extreme clarity.
CHRISTINE HOOCK
fingers always very close to the strings, gives the bow
NatioNality
This has to be exaggerated a chance to articulate calmly and clearly this passage PLAYING REPEATED NOTES
in front of a large audience’
GERMAN
which ‘dances’ around the pitch D. By integrating the Particularly when playing repeated notes, there is
studied with
consecutive two-note slurs into the melodic line you a danger of the line becoming static and losing its
GüNTER KlAuS, will create a natural swinging, breathing phrase. momentum. This is precisely where you should
FRANCO PETRACCHI intensify your declamation. In bars 29 and 30,
Christine Hoock will be giving masterclasses THE BOW IS YOUR VOICE a melodic upper line moves away from a repeating
teaches at at the 34th Portogruaro International Whatever your native language, you speak with root note, and in bar 41 an ascending line leads to a
TEACHES AT MOzARTEuM Festival of Music, Venice, 21–28 August
uNIvERSITy SAlzbuRG; CHINA
dynamics, expressing words and phrases in a repeated D preparing the down-beat of bar 42. In
www.festivalportogruaro.it
CONSERvATORy, bEIjING particular way to build the sense of what you are contrast, the following lyrical dolce requires space and
saying. And you have to breathe. If you really want serenity. It is this kind of juxtaposition that lends
someone to listen to you, you must express yourself a magical balance to this movement.

68 the strad August 2016 www.thestrad.com www.thestrad.com August 2016 the strad 69
 masterclass

ExERCisE 1 Use this exercise to work on your string-crossings and bow changes Reg_BoxWhiteCaptions
Kreutzer 18 Studies for String Bass, no.7
Allegro non troppo
4 0 4

4 4
2 4 1
4 2 4
2 0 2

2 4 4 1 1 0 3 1 1 4 4
1 4 1
D 4
+

ExERCisE 2 Play this exercise in slow detaché, then faster with two or four notes to a bow, and finally in a fast spiccato
Findeisen 25 Technical Studies op.15
3 3 1 + 2
+ 1 vol.5, page 8
0
+ 1 2 3 0
+
0 0
+
+

7 0
+ 3 2 1 0
+ 3 3

3 3 2 1 0
+

ExERCisE 3 Practising 3rds is a useful way to prepare for the Vanhal Concerto
Christine Hoock 3rds exercise

2 1 2 1
1 0 1 0 2 0 1 4
2 4 2 4 2 4
4 4 2 4 2 1

1 2 1 1
1 1 1 2 1 2 3
2 1 4 4 4 3 4 3
4 4 4 4 4

USE OPEN STRINGS and Gruber, also introducing something of my own.

I like my sound to be as sustained as possible; I have included Sperger’s cadenza on page 79.
I allow the bass to ring and I almost never dampen
the strings. It’s good to have the open G string as EXERCISES
the dominant, especially in the development, In Viennese tuning we use more string-crossings, but
after letter E – its free vibration enhances the joyful, when using today’s tuning in 4ths we are more limited.
natural character of the piece. I also use it in It’s important to prepare and execute string-crossings
the semiquaver broken triad passages. The and bow changes (exercise 1) calmly. Using thumb
introduction of ottava alta transpositions can disrupt position (exercise 2) gives us much-needed agility in
these sections – for me, the natural, rich, sonorous high positions. Practising scales and broken-chord
tone of our instrument should always have priority. studies daily in the main and related keys of the piece
also prepares us for its technical demands (exercise 3).
THE CADENZA
Originally, cadenzas were where the soloist MARKINGS ON THE FOLLOWING PAGES
displayed not only their technical but also their Emphasis via arm weight rather than bow attack
improvisational skills. Sperger’s cadenza (printed here) Work towards the middle of the bow in phrases
is pleasant and stylistically homogeneous. You can preceding this symbol, reach the middle where the
show more virtuosity and use a broader pitch range in symbol is marked, and move away again afterwards
H.K. Gruber’s cadenza, which pushes the limits of our Think of the hairpins as opening and closing
instrument. I like to play a combination of Sperger ‘waves’ within the main dynamic

www.thestrad.com August 2016 the strad 71

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