Dissertation Summary:
"A History of Double Bass Performance Practice: 1500-1900."
by Stephen Sas
The
history of the double bass, a five hundred year story little studied
and poorly understood, is a complex one involving a bewildering number
of different instrumental sizes, tunings and names. Rather than create
a history of the instrument itself, I have chosen to survey the first
four hundred years of its history from a performance practice
perspective. How the instrument was played by performers, how and why
it was used by composers, and how it was received by contemporaries is
investigated through the use of original source materials, including
treatises, orchestration manuals, contemporary reports, and double bass
method books.
Discussions
of performance practice practice issues must, however, include some
examination of the physical characteristics of the instrument, which
are determined by its function, the materials available to build it,
and the limitations of its players. By examining instruments of
different periods, a picture can be formed of its role, as well as how
it might have been played.
My
strategy for investigating the the long history of the double bass
varies according to century. The earliest part of the document focuses
on the 16th century, the period in which the viol and violin families
of instruments originated. Questions are addressed regarding the
reasons for the double bass’ creation, the instrumental family to
which it first belonged, the occasions for which it was used and how
commonly it was found. Since the rise of music composed for specific
instruments began at this time but was not yet a common occurrence
until the 17th century, more attention is paid to theoretical writings
than to the music of composers.
I have
approached the 17th and 18th centuries by looking at how composers
regarded and wrote for the double bass. Specific works are looked at in
order to follow the growing use and popularity of the double bass. The
rise of the orchestra and the role of the double bass within this
institution is a particularly significant development. I have tried to
shed light on several poorly understood aspects, such as the notation
of parts an octave higher than sounding pitch, and the practice of
orchestral part simplification (the creation of a specific double bass
part from a general basso part.) In addition, a survey of the many
different types of instruments available to composers is presented. The
scarcity of some of these instruments today often creates confusion
when attempting to assign present-day instruments to music of the past.
For the
19th century, I largely follow its development through method books.
These methods offer excellent insight into the level and style of
double bass playing in different periods and locations. They are
examined for their general approach to the instrument, and a detailed
examination of fingering systems is made. To modern eyes and ears, many
of these early methods seem almost laughably inadequate. Could students
of the instrument really have followed some of the directions given? Of
course it is impossible to really know, but comments on the
instrument’s performance level found in contemporary accounts
would seem to confirm a low level of ability. In striking contrast, a
number of virtuoso performers emerged at this time, however the focus
of my inquiry is on the general level of performance.
My history
ends with the advent of the 20th century. One might find that many of
the problems and issues which confronted 19th century bassists still
confront modern players. Perhaps an understanding of the
instrument’s past will be helpful in fashioning its future.
Stephen Sas
For more information contact Stephen Sas at ssas1012@aol.com
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