Is it fair to generalise that the public tends to have little understanding of what the double bass can offer?

While the general public, those who listen to music, probably have a good understanding of the double bass in its many roles — jazz, country, pop, rock, big band, and as the basis of classical performances —, they probably have had little opportunity to appreciate its importance as a solo instrument and chamber music presence. This is a whole other world for a bass player. The range of the instrument is similar to that of a baritone singer, and thus is a great instrument to express the solo capacities of the player. In chamber music, which in most cases assigns one player to a part, the opportunity to share in the expressiveness of music can be clearly heard. Unfortunately, there are very few opportunities for the general public to hear solo bass or chamber music performances. The bass repertoire is more limited than for the other strings. Most of the audience for a solo bass performance consists of other bass players. Most music lovers are familiar with Schubert’s famous “Trout Quintet,” and Beethoven’s “Septet”…

Neil Courtney at Liuzzi’s
PHOTO COURTESY OF THE MUSICIAN

Has your extensive orchestral work “compromised” your possibilities in solo performance? How do you reconcile with both aspects, one being collaborative, the other being solitary?

Yes, the demands of a very full orchestral schedule, plus teaching, family responsibilities, and other musical choices such as composing and performing chamber music left little time for developing a solo career. I found the collaborative aspect to be richly rewarding.

Working together to solve artistic and interpretive problems is exciting and satisfying. For example, in a piece such as the Prokofiev Quintet for violin, viola, bass, clarinet and oboe, coming to agreement through a process of “give and take” on the importance of various lines, how to pass them between the players, what the dynamic parameters should be, what we think Prokofiev would have wanted, etc., illustrates well the creative process of problem solving and interpretative examinations as an ensemble.

When working in the orchestra as a musician, you don’t have much to say. In most cases, efforts are made to resolve differences in an amicable way, usually through discussion. You might try playing in various ways. When differences can’t be resolved, say in chamber ensembles, they sometimes lead to the breakup of the ensemble.

What aspects of music performance appeal to you most?

There are many appealing aspects. I think the predominantly rewarding aspect is the sense of recreating some of the highest achievements of human creativity with the world’s finest musicians for the benefit of attentive and appreciative audiences. This is most gratifying. There is also the ongoing learning process of interpreting new music, being exposed daily to (mostly) accomplished conductors and extremely talented soloists.

As a classical musician, how do you perceive your social role in contemporary American society (and internationally)?

As a classical musician, I feel we should take on a social role wherever it is possible to have an influence. In Philadelphia, for example, I was an organizer of Musicians for Social Responsibility, which produced three Concerts for Humanity, a fundraiser, two conducted by Riccardo Muti, which bankrolled many anti-war organizations supporting nuclear arms control in our community.

Performing with the Philadelphia Orchestra
PHOTO COURTESY OF THE MUSICIAN

I also devoted nineteen years to a local chamber music group, which I helped organize, and which performed four concerts a year. We included many of our Philadelphia Orchestra colleagues and attempted to bring “culture” to the suburbs. I provided program notes orally, played in and composed for the group.

Also, international touring is an effective force for global understanding. My orchestra (the Philadelphia Orchestra) was the first American orchestra to perform in China in 1973, which helped establish diplomatic relations between America and Communist China.

How has your relationship with the double bass evolved?

As in any long-term relationship, you develop an appreciation for the strengths and weaknesses of a partnership. After sixty-eight years together, I think we’re headed for a divorce.

Divorce?

I was being facetious about getting a divorce. (I was somewhat overwhelmed at the thought of being together for sixty-eight years.) I should have said that in view of my impending retirement, it is time to renew our vows and redevelop my jazz skills as well as my basic techniques.