They love their Bach and Beethoven, but they can’t live without the challenges, thrills, and unexpected pleasures provided by new music from the likes of Balk and Balliett.The Stravinsky-inspired music that Jim McNeely wrote and arranged for Chris Potter to perform with the Frankfurt Radio Big Band has risen to the top of the class among this year’s contemporary large jazz ensemble releases. Sunday’s program is for the adventurous, and that includes the musicians. Pete studied with BSO bassists Benjamin Levy and Edwin Barker, and now teaches through the Wellesley Public Schools’ Instrumental and Vocal Extension Program.īefore the seven bassists take the stage on Sunday, tenor Eric Carey and harpist Charles Overton will perform Britten’s “Canticle V: The Death of St. He has worked with Thomas Adès, Osvlado Golijov, John Harbison, and other leading contemporary composers. He is Assistant Principal Bass of the Cape Cod Symphony and has played with many esteemed chamber groups in the Boston area, including Emmanuel Music and Marsh Chapel Collegium. Pete Walsh is Principal Bass of the New Bedford Symphony and of Phoenix, a Boston-based chamber orchestra. Additionally, he and his brother George, billed as The Clements Brothers, have produced a recording of their original music, a fusion of “roots, rock, bluegrass, jazz, and classical influences.” He has played for many distinguished orchestras, collaborates in the Boston area on projects ranging from American Roots to Baroque, and is a regular substitute in the Boston Symphony Orchestra.
With a fearless approach to daunting materials, constant versatility and an allegiance to the composer, their performances immediately connect with audiences.” And so, Kass is in the band.Ĭlements, another of Seeber’s former students, was a fellow at the Tanglewood Music Center for two summers, earning the Maurice Schwartz prize for musical achievement in 2010. Look at what BSO bassist Todd Seeber has to say about former student Kass and his Departure Duo: “What Eddie and Nina do in the Departure Duo is inspired and world class. These are exactly the kinds of players you want performing adventurous repertoire - people who can do more than their share of heavy lifting. These three are champions of contemporary chamber music - evangelists, even - besides having versatility in genres such as jazz and bluegrass. It’s worth taking a close look at Kass, Walsh, and Clements, because their contribution to a recital such as this goes far beyond their ability to read and play their parts with precision. As skilled as the regular BSO bassists are, it would be a terrible shame if we never got to hear these “other” players. Sunday’s seven bassists - enumerated, presumably, according to Katherine Balch’s requirements - are Boston Symphony members Benjamin Levy, John Stovall, Todd Seeber, and Carl Anderson, along with freelancers Edward Kass, Peter Walsh, and Charles Clements.
89, for tenor and harp Bartok Duos Katherine Balch’s “Kalesa Ed Kaluca,” for bass septet and Douglas Balliett’s “ Beast Fights.” On Sunday’s program are Benjamin Britten’s “Canticle V: The Death of St. What we need is a double bass recital, like the one Tanglewood’s Linde Center is presenting Sunday, April 10, at 3 p.m. But while the sound of a bass section is essential to the sonic character of a symphony orchestra, we rarely hear this particular sonority without 70-odd other musicians playing along and practically drowning it out. It’s the reason they had to invent subwoofers. LENOX - Double bass ensembles are a thing - uncommon but not unheard of - because the sound of six or eight double basses playing together is pretty amazing.
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