Virtuoso Reality
From the CD liner notes by Rick Phillips, project producer:
Joel Quarrington — the non-conformist, the rebel, the rabble-rouser? Hardly the adjectives we would use to describe a telented classical musician, let alone a Double bass player. But Joel Quarrington is all of these, and more.
First of all he plays with the German bow, not the French. There are two types of bowing techniques for the Double bass, and there is a lot of controversy and argument about their relative merits. The French bow is held much like the violin or cello bow, with the hand over the end. The German bow is believed to have evolved out of ancient Viol playing. It has a different, more broad end to it, and the hand is turned 90 degrees so that the end of the bow is in the palm of the hand, rather than underneath it. Although Joel originally learned the instrument using the French bow, since 1983 has employed the German bow, preferring the lesser amount of pressure needed, and the richer variety of colours he feels are available. But in his position as Principal Double bass with the Toronto Symphony Orchestra, Joel is the only one of the eight bass players in the orchestra who employs the German technique. Although it’s not rare to have a mixture of French and German techniques in bass sections, more often than not, there is uniformity of bowing — one or the other.
But the bow is not the only way Joel stands out. He also tunes his Double bass differently. It’s a technique he developed himself in the 1980s, and which he uses exclusively now. The standard tuning of the four Double bass strings is E A D G, with the same intervals of fourths between strings as those of the violin, but of course lower in pitch. A mechanical device controlled by levers can extend the range of the low E string down to a C. But never being completely satisfied with this, Joel instead began tuning his instrument starting with low C, and then working up in fifths to C G D A, the same pitches as on the cello, but an octave lower. The extended range down to low C, without having to use the mechanical device, and at the other end, up a tone to A instead of G. As well as the extended range, he also finds this tuning gives the bass a more open, round tone, and improves its tuning with the other instruments of the orchestra.
Double bass players often own more than one instrument. For example, some may find one bass better suited to orchestral playing, while another instrument, with a smaller sound, may fit into chamber music better. But Joel Quarrington uses one instrument all the time, whether he is soloist, chamber musician or orchestral player. It was made in Italy in 1630 by the noted Brescian master Giovanni Paolo Maggini. The instrument has had a fascinating life. It has been played in both the Chicago Symphony Orchestra under Fritz Reiner, as well as the NBC Symphony Orchestra with Arturo Toscanini. It now enjoys life with Joel as Principal Double bass with the Toronto Symphony Orchestra.
The repertoire for the Double bass is limited. Consequently, Double bass players throughout musical history have often had an enteprenural leaning. Necessity is the mother of invention, after all. Many took to composing works for the instruments themselves, others had existing music arranged for it, or commissioned new works from composers of the day. On this recording with Joel Quarrington are selections from all three categories, showing the versatility and adaptability of the instrument, as well as Joel’s virtuosity, expressiveness and dedication.
Giovanni Bottesini was a talented 19th-century composer, conductor and Double bass player, sometimes known as “The Paganini of the Double bass.” Among his operas are such titles as Cristoforo Colombo and Ali Baba. As well as numerous pieces for the bass, he is well remembered as the conductor at the 1871 premiere of the opera Aïda, in Cario, written by his friend, Giuseppe Verdi.
Toronto composer Milton Barnes is well known in Canada for his unpretentious, captivating music. The Papageno Variations for bass and string orchestra were written for Joel Quarrington in 1988. That are based on the birdcatcher Papageno’s Act 1 introductory aria from Mozart’s opera The Magic Flute – “Der Vogelfänger bin ich ja”. The light-hearted, fun-loving character of the original aria is maintained throughout, in a variety of musical styles.
Michael Conway Baker is a very busy Vancouver-based composer. As well as many concert and recital works, he is also a talented composer of file and ballet scores, including soundtracks to the films The Grey Fox, John And The Missus, and the ballet Washington Square. Contours was composed in 1973 for another Double bass virtuoso and pioneer — the American-born Gary Karr.
Henry Eccles is just one of a family of Engilsh musicians (sometimes known as Eagles) from the generation that followed Henry Purcell. Henry’s older brother John, was a talented composer of incidental music for the theatre. Another brother, Thomas, was an excellent violinist, reduced by a drinking problem to scraping out a living playing in taverns and inns. It is believed that Henry, the composer of the Sonata included here, eventually became a musician in France in the service of Louis XIV.
With the Sonota by Giovanni Battista Borghi, the repertoire on this recording is reduced to just two players. Very little is known about Borghi. Around 1770, he was Maestro di Capella of a church in Loretto, Italy. The following year, his first opera was performed in Venice. At some point, near the end of the 18th-century, he made a journey to Russia, returning to Italy, and dying around 1800. He was known mainly for his 25 operas, the most popular being Semiramide, based on the same story as the later opera by Rossini. But he also composed many instrument works. This Sonata comes from the library of works for Double bass collected by Isaia Billé.
Pablo de Sarasate was one of the great violin virtuosos of the 19th-century. If Nicolo Paganini ruled the first half of the century, Sarasate was dominant in the second half. His best known, and most often recorded work is Zigeunerweisen, or “Gypsy Airs”, heard here in an arrangement for Double bass and Piano.
Franco Mannino is a pianist, conductor, and composer now in his seventies. He is a prolific composer, writing in many genres, from a set of 24 Preludes for Piano in all the major and minor keys, to operas. The Sonatina Tropical, included here, also appears in an arrangement for cello choir. From 1982 to 1986, Franco Mannino was the Music Director of the National Arts Centre Orchestra in Ottawa, Canada. The four movements of the Sonatina Tropical are suited to the Tropics — Mambo, Beguine, Bossa Nova and Rumba. These dance titles are perhaps a little more difficult to associate with the Double bass, but such is the character and talent of Joel Quarrington.
You can listen to tracks and purchase the CD here.
