Viennese musician Dominik Wagner surprises with a cd entirely devoted to the giant among string instruments – the double bass. Together with pianist Lauma Skride he presents a selection of 14 intriguing pieces, ranging from Schubert and Ravel, via Fauré and Boulanger to Richter, Glass and, yes, Charles Chaplin.
In the symphony orchestra, the double bass is the largest string instrument with the lowest register. The history of the double bass is two-sided: on one hand it is part of the violin family but on the other hand also of the viola da gamba. An additional complication is that the bass is not standardized, there are versions with 3, 4 (customary) and 5 strings. The double bass is especially known for its rhythmic and harmonic role in the symphony orchestra. The lowness of the register means that all other instruments populate the higher regions. For a rich and warm orchestral sound you have to turn to the double bass.
From double bass player and composer Peteris Vasks, Wagner and Skride have recorded an arrangement of his Andante Cantabile. It originally comes from his second cello concerto, but is now allowed to lead its own life. Wagner's interpretation opens a world of lyricism. After a lamenting intro, the singing voice in the higher registers comes fully into its own, after which a strong piano solo lays down the long final motif with care.
From minimalist composer Max Richter, who characteristically keeps his distance from well-trodden classical orchestrations and thereby creates a comfortable kind of tension, the piece Mercy (2010) is chosen. It is a plea for compassion and forgiveness, something that is also welcome in these times. Mercy is developed towards a sustained arpeggio with relatively large jumps within the chords, with Wagner daring to increase the speed. This way that instrument also shows its cheerful side. Franz Schubert is distinctly present with two compositions. In the song Du bist die Ruh the double bass takes over the vocal line, adding a new dimension to the poetic significance.
The pieces that have their origins in art song are interesting because they mark the transition from the classical period (Mozart, Haydn, Beethoven) in which the bass served to double the cello (albeit an octave lower) to the 19th century when the bass was also used for individual expression. A well-known example of the emancipation of the double bass is the part in the opera Otello (4th act, in which he is under the delusion that his wife is cheating on him).
For Ständchen – Reharmonized, the second Schubert piece on the cd, Wagner brought in Berlin pianist and arranger Jarkko Riihimäki. This gives this serenade a good dose of jazziness, which noticeably refreshes the listening experience. French composer Clause Debussy makes his presence known through the melancholic song Beau Soir, an interpretation with which Wagner's lyricism approaches the physicality of the cello.
American stalwart Jeff Bradetich also makes himself heard via an arrangement of Fauré's Elégie. It was originally written for cello but the arrangement for double bass results in a moving account of heartbreak, with much emotion and warmth. By building the perspective now from the lowest registers, the drama is convincingly set in motion. The cd concludes with some evergreens, such as Moon River by Henry Mancini and the theme from Modern Times by Charles Chaplin.
WHAT: Chapters (A Double Bass Story)
WHO: Dominik Wagner [double bass], Lauma Skride [piano]
LABEL: Berlin Classics
RELEASE: 10 March 2023
ORDER: JPC