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Berliner Philharmoniker Master Class – Double Bass

Berliner Philharmoniker Master Class –  Double Bass

Hello, welcome! I am Klaus Stoll, for a long time Principal Bass
of the Berlin Philharmonic Orchestra, 43 years total. This means this orchestra was my home; my musical home. I would like to welcome all candidates
for the YouTube Symphony Orchestra and to give
a few pointers that might help to successfully audition there. One of the most difficult things –
which we sometimes even dream of – is the Concerto No. 2 by Karl Dittersdorf. It was written in 1767. This means it is a piece of pre-classical music. We need to consider this
for we cannot play pieces in the technique of Richard Strauss or Igor Stravinsky, but we must express something
in the clear articulation of the elegant and positive music this time in D-major
that Dittersdorf had borrowed. We will start with a small theme. This is like a signal of a trumpet. ♪ (plays) I have observed very many players that use this fingering, but also very many
who use a different one which is not as practical. An example would be: ♪ (plays) with constantly changing strings. When we hear this and compare, the other fingering is more economical because we need to change the strings one time less. So he picture becomes clearer. ♪ (plays) I can play this easily,
like on a violin. ♪ (plays) I need to be careful here. I just made a mistake on purpose: ♪ (plays) When I do this, my arm is very busy and the angle of the bow is at risk. This means that I am
playing my strings too long. I don’t have time to articulate. I have to be careful here. ♪ (plays) Instead of: ♪ (plays) That’s the mistake I just made. Therefore, when I begin again ♪ (plays) then I will achieve a relatively clear picture. This means, these terrible intervals,
that I have to grasp – won’t sound like work. That way you can be accepted. You can express something musically that sounds joyful and elegant. That would be the first movement
of Dittersdorf’s concerto. I will try to play it
one more time in context without talking too much in between. That way I can also give you
an example for the pace of the music. It is not simply allegro. No, it reads allegro moderato. And allegro moderato is always
to be counted in four: 1, 2, 3, 4 – as if someone is going for a walk. ♪ (plays) Then I would present
the double bass on all four strings. But it must sound light because this is a piece
from the era of elegant, dancing music. This is what I can say about the
first movement of the Dittersdorf concerto. There are technical question
we should discuss – in any case we cannot simply,
for example here, ♪ (plays) play the enlarged intervals without direction. This applies to all scales, all extensions, all interval extensions, even repeat patterns. Many bassists play,
for example: ♪ (plays) In classical music, a repeated note always means drama. ♪ (plays) We put a mordent only at the end: ♪ (plays) But, there are actually four identical notes. ♪ (plays) We meet these formulas
even in the late Beethoven, and again in Robert Schumann. ♪ (plays) There is one thing that is very essential. The other is the interval magnification. When I go and play: ♪ (plays) then this means ♪ (plays) I stride upwards. I make a scale, that always corresponds
with the repeating base note. That means, the interval grows larger: Third, Fifth, Sixth, Seventh, Eighth. ♪ (plays) It gets exciting
when I show there is a body. This helps the musical language. It was the pre-classical period and those were the linguistic
resources for musical expressions: drama, joy, sorrow. This is what I can say about
the first movement of Dittersdorf’s concerto. And I believe in our practicing
we always have to take into account the time
in which the piece was written. Thank you!

Reader Comments

  1. Wow, I finally knew his name! I have video recordings of Berlin Phil and whenever I look at the bass section, he's always so ethusiatic! He's like the Santa Claus (no pun intended) of the orchestra! 😀

  2. @GermanoDeppe Klaus Stoll wurde kürzlich offiziell in den Ruhestand verabschiedet, spielt aber immer noch regelmäßig als Gast bei den philharmonischen Konzerten.

  3. Ach, ich liebe solche Menschen.
    Lebensfreudig, sympathisch und ein Genie noch dazu 😛
    Ich hoffe in meinem Leben etwas ähnliches zu erreichen (18, Bassist). Dann würde es mir gut gehn^^

  4. His lesson of knowing the period of the music is a lesson that ALL instrumentalists can learn from. This video is great for double bassists but I believe a violinist who is still honing their craft would be well served to watch this as well. Fantastic stuff!

  5. Klaus , you don't know, how much I miss to meet you every week, learn from you how to make music on the bass. It's a pleasure to listen to you, big , but big hug from Spain. You still being my vortbild.

  6. @eerbrev
    I think you should plan to learn German. European Classical music is much better undertood in Italian or German. Give it a try, I does not bite!!! Good luck

  7. Thanks!! He's awesome! I hope to be as good as him some day! I've only been playing for 2 years. But I strive to be the best I can be. I'm in a local Symphony.

  8. "La difícil facilidad de la sencillez" R. Bonilla

    Klaus Stoll un Maestro completo que nos enseña la importancia de la dialéctica en la música.

  9. danke Klaus,auch wenn ich immer noch finde für Kammermusik ist der französische Bogen besser,das war ja auch mal ein papitostreitthema vor 20 Jahren zwischen uns ,obwohl ich zwischenzeitlich auch glaube das das egal ist,ich bin reiko

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