As a preface of my teaching concept, I would like to cite the words of two great musicians which describe my ideal of doublebass sound very precisely:
„Played like this, the doublebass doesn't need to be afraid of the rivalry of the cello, it's quite the opposite: the sound of the bass has a noble masculinity the cello misses“
(Richard Strauss about the doublebassist
Eduard Madenski (1877-1921))
„A singing line (...), which doesn't fail to reach the beauty and leck of slag of the cello, but is supreme in medullarity and power“
(Wilhelm Furtwängler about Eduard Madenski)
The basic sound of the double bass should be independent of other instruments, masculin-medullar like a baritone voice, for example Lado Ataneli or Robert Hale. In addtion, the bass should sound smooth like Mathias Goerne, powerful like Matti Salminen, in higher positions even feminaly charming like Julia Varady. You can see: singers are my idols. Ability of alteration and adjustment are as important as personality. Inmatters of virtuosity, the doublebassist should orientate at violinists, viola and cello players.
As you can see in my curriculum vitae, I am / have been member of four german orchestras of highest range.
It is my passion to be a bass player in an orchestra, chamber musician and soloist, and I want to negotiate this passion to my students.
I offer a sophisticated training based on the scales and chord studies by Josef Prunner, a student of the on the site before mentioned Eduard Mandenski, which I custumize individually to the manual features of each student.
Result are appropriate standardized fingerings for each tonality, as they are used on other instruments and as they are really nessecary as a basis of pracitcal work as a musician.
Works by Franco Petracchi and Duncan McTier complement the training.
In addition to these didactic basics I was influenced by the socalled„Dispokinesis“,
a technique of motion and body tension develloped by the dutch physiotherapist G.O.van de Klashorst, which enables the optimal use of the body weights (for example the weight of the right arm). This technique minimizes the need of motion and muscle power and therefore leads to best efficency.
Essential part of the technical education of my students is the self supervision of the student, which I trainby detailed questioning and by the use of recording techniques.
In the artistic part of the training, I work with original compostitons as well as with arrangements of works by great composers to achieve wide range and variety of repertoire.
I add stylistic, formal, harmonical and technical analysis and analysis concerning the meaning to the practical work with the instrument.
Aim of this theoretical analysing work is the development of an ideal of a goal independent from technical / manual mistakes and habits.
Having such a clear ideal of goal in mind, the individual work at the instrument is faster and the menthal concentration in the moment of the performance, especially in a stressful sitation like an audition, is easier to achieve.
Are you interested to study in my class?
Don't hesitate to send me a mail.