Next Level Bassist Teaching and Inspiration

SPOTLIGHT
PHILADELPHIA ORCHESTRA DOUBLE BASS SECTION
There are several orchestras in the world
that receive the respect and admiration
of the classical music community for their
high level of technical prowess, incredible
music directors at the helm, and reputation
for definitive interpretations of great works.
There is only one orchestra in the world,
however, that is known universally for
its unique sound, cultivated by decades of
tradition and a famously uncooperative hall.
The Fabulous Philadelphians, as they are
often called, can lay claim to the original
soundtrack to Fantasia, and boast a longstanding
tradition of bass playing cultivated
by their relationship with an equally distinguished
institution, the Curtis Institute
of Music. We spoke with the members of the
bass section, who boast an unbroken line of
experience dating all the way back to 1964.
Witnessing the Philadelphia Orchestra bass
section in action, one is immediately struck
by the relative ease with which they play
together. Rob Kesselman, who joined the
section in 1987, believes the philosophy of
the section is to “support the big string sound
with a big bass sound. Nothing too fancy,
just laying it down!” Frequent substitute
player Mary Javian describes it using one of
the section’s most popular sayings, “Cut her
loose!” However you slice it, the section upholds
the tradition of the “Philly sound.” This
idea is rooted in the history of the orchestra,
which performed until 2001 in the Academy
of Music. This hall, which is known for its
dry acoustic, is believed to have forced string
players to play in a longer, more connected
style in order to compensate for a lack
of resonance. Famous recordings of the
orchestra were captured in venues as diverse
as Town Hall and a basketball court in
Fairmount Park, allowing the rich and vibrant
quality of sound to transcend the limitations
of their normal concert venue. For the last
13 years, the orchestra has performed at the
Kimmel Center, a space with an acoustic to
match the sublime quality of the playing on
stage, and the impact of the “big bass sound”
has never been stronger.
The members of the Philly section share a
common learning heritage. Of the 8 players in
the bass section, 4 are alumni of Philadelphia’s
Curtis Institute of Music. The school’s close
proximity to the orchestra and a faculty roster
full of Philadelphia Orchestra musicians allow
students to get deeply acquainted with the
sound, tradition, and tastes of this orchestra.
Henry Scott, a member since 1974, says that
playing with the section reminds him of first
driving a car. “Some things just seem to be
so natural and ingrained in me as I grew up,
attending Philadelphia Orchestra concerts.”
As one of only 18 orchestras in America with
a full time schedule, these musicians possess a
coveted asset in today’s orchestra world - true
familiarity as an ensemble. One of the most
rewarding aspects of performing with an
orchestra that plays together, week in and
week out, is the overall sense of quiet confidence.
Says Mary Javian, “you can play your
guts out from the very back of the section.
Every player contributes a huge, lush sound.”
A recent development of the orchestra was
the appointment of a new music director, the
38 year old French Canadian maestro Yannick
Nezet-Seguin. According to many orchestra
veterans, his coming marks a new golden
age for the Philadelphia Orchestra. Henry
Scott counts among his favorite moments in
a 40 year tenure with the orchestra a 2013
performance of the Bach St. Matthew Passion.
“That entire concert was awesome. Since
Yannick has been with us, there have been
very many such moments.” As the orchestra
sees the retirement of musicians dating back
to the Eugene Ormandy recording era and
the appointment of a new generation of
musicians, the ensemble continues to find
inspiration in bold new programming and
incredible performances.
True to their roots as one of America’s great
institutions, the bass section members often
cite Beethoven and the other “war horse”
composers as their favorites. In an orchestra
known for its power and intensity, it comes
as no surprise that the immortal music of
Beethoven and Brahms, Mozart and Strauss
are the source of inspiration for these heavyweights.
What is it about these composers,
besides an overarching sense of greatness and
respect for them? Perhaps, as Rob Kesselman
believes, it comes down to continuing to be
challenged. In a career where many musicians
can expect to perform for over 40 years with
the same group of musicians, finding nuance
and subtlety in the same works is crucial.
Often these moments come about because
of external circumstances. Kesselman recalls
playing the William Tell Overture (one of
the most often performed works of the entire
repertoire) with Riccardo Muti: “It was in
Buenos Aires. It was absolutely thrilling, the
audience threw flowers on the stage afterward!”
For Mary Javian, it was the visceral
impact of Shostakovich: “The depiction of
the invasion in the first movement was so
vivid I felt as if I had been transported to this
scene of war and horror. The orchestra played
with a crushing force that was absolutely
hair raising.”
There is an indefinable chemistry involved in
the healthy functioning of a group of people
who play music together. In a profession so
filled with emotion and artistic risk, having
a good atmosphere is crucial. Henry Scott
attributes this to “a respect for what we do,
as well as respect for one another.” Principal
Hal Robinson helps to cultivate a “laid-back
attitude” in rehearsals, and when it comes to
concert time, the section creates a sound that
demands to be heard. ■
SELECTED VIEWING:
• Complete performance of Carl Orff ’s Carmina Burana with Rafael
Fruhbeck de Burgos at the Kimmel Center, February 2013
• Trailer for Music From the Inside Out, a terrific documentary
of the musicians of the Philadelphia Orchestra from 2004. There
are some great shots of Hal Robinson performing solo music
by Francois Rabbath!
• The Philadelphia Orchestra’s own recordings page lists current
recording offerings available for purchase. Please support this bass
section and orchestra, while building your library of superlative
recordings
SPRING 2014 NEXT LEVEL BASSIST
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