AN APPROACH TO & ART OF BASS-LINE PLAYING
Even though the violone and double bass both were used to a certain extant as solo instruments, their principal role was undoubtedly that of pillars of the “basso continuo”. Sadly however today very little attention, if any, is given to this crucial aspect of their function.
After decades of experience performing with the leading baroque ensembles of Europe, I have evolved my own approach to, or art of bass-line playing – employing a highly developed technique, both instrumentally and pedagogically, in both understanding and performing (on whichever bass-line instrument) the role of “basso continuo” to its fullest and richest potential.
Although my own instrumental specialisation is that of the violone and double bass, the wider group of the “basso continuo” of course comprises numerous other instruments (violoncello, bassoon, etc.) and the art of bass-line playing is naturally an approach to understanding and performing appropriate to all members of the “basso continuo” group.
THE VIOLONE & DOUBLE BASS
and their fundamental role in the “basso continuo”
The group of string instruments belonging to the “basso continuo” of the 17th and 18th centuries was both numerous and varied. Throughout the baroque era this group of instruments, more than any other, experienced a continuous evolution, furnishing the “basso continuo” sound – the fundament of the language of baroque music – with a rich variety of colour, texture and depth.
Of the many different bass string instruments - both in name and form - of the 17th century, perhaps the most important and widely used throughout Europe was the
8’ “Violone”. This type of instrument, recognised across the continent under numerous names and variants (Basgeiger, basse de violon, contrebasse de viole, bassetto, etc.) played not only a fundamental role in the accompaniment of both orchestral and chamber music, but was also employed as a solo instrument.
Next to the 8’ bass instruments of the string family there had always existed a 16’ (contrabasso / double bass) variant, again found across Europe under various names and forms. During the 17th century this 16’ double bass played a somewhat secondary role to its smaller and more agile 8’ relative. However, as the language of baroque music continued to evolve towards its height in the first half of the 18th century the roles of the various instruments of the “basso continuo” began to be more clearly defined, and the larger 16’ double bass took on a gradually more important and active role.
Towards the end of the 18th century the 16’ double bass enjoyed an unprecedented period as a solo instrument – in Germany and Austria in particular – with a fascinatingly rich repertoire of both chamber music and solo concertos by such composers as Haydn, Sperger, Vanhal and Mozart.
