Ryan Center for the Musical Arts 1
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Location:
Evanston, Illinois, US ( Chicago Metropolitan Area )
Summary:
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School Founded:
1873 2
Bass Instruction Since:
The earliest bass teaching record points to instruction by Vaclav Jiskra in 1947. Further research needed. 3
First Bass Graduate:
( To be identified – Format: Year, Name, Degree ) 4
Profile:
Top tier American School of Music
Common Name:
Bienen School of Music
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Former Names:
Music Department, Northwestern University, 1873 – 1876 5
Conservatory of Music, Northwestern University, 1876 – 1891
Department of Music, Northwestern University, 1891 – 1895
School of Music, Northwestern University, 1895 – 2008
Henry and Leigh Bienen School of Music, Northwestern University, 2008 – Present
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Dean:
Toni-Marie Montgomery (since 2003)
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Address & Contact:
Henry and Leigh Bienen School of Music
Northwestern University
Patrick G. and Shirley W. Ryan Center for the Musical Arts
70 Arts Circle Drive
Evanston, IL 60208
Contact
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Official Site:
LC Authority:
https://lccn.loc.gov/no2018152264
Contents:
-other
Bass Department:
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Current Faculty:
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Classical:
Andrew Raciti – Lecturer in Double Bass
Ian Hallas – Lecturer in Double Bass
Jazz:
Carlos Henriquez – Lecturer in Jazz Studies (Bass)
Bass Department Page:
Northwestern University Double Bass Studio
Page features Bass Department performances, master classes, alumni advancements and other news.
Programs:
String Performance – Double Bass
Degrees:
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Standard:
Bachelor of Music – Audition Requirements – Degree Requirements
Master of Music ( click “Graduate” ) – Audition Requirements – Degree Requirements
Extended:
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Enrollment:
( A place to cite enrollment procedures and requirements for each degree, the selectivity standards, the chances for acceptance, along with the enrollment statistics. Data to be gathered by further research. )
Stipends:
( A place to cite the type and profile of stipends available for each degree. To be gathered by further research at the school. )
Former Faculty: 7
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Classical:
Name
Years
Jazz:
Name
Years
Noted Alumni: 8
( This section should offer the listing of all bass students who realized themselves in professional world or otherwise distinguished themselves in the career and life. To be assembled by research at the school alumni office and the careful perusal of all annual bulletins, and by consultation with the present and former bass faculty. )
Classical:
Jeff Bradetich, Christopher Carson, John Chiego, Max Dimoff, Paul Ellison, Brendan Fitzgerald, Jerry Fuller, Scott Haigh, Carol Harte, Jason Heath, Douglas Johnson, Margaret Johnston, Gary Karr, Aaron Miller, Igor Pecevski, Steve Reinfranck, Harold Robinson, Phillip Serna, Paul Sharpe, Hans Sturm, John Tuck, James Vrhel, Dennis Whittaker.
Jazz:
Rufus Reid, Steve Rodby ( both graduated as classical bassists )
Statistics:
( A place to list a cumulative number and type of bass degrees awarded including the years that the first BM, MM, and DMA were bestowed. Additional statistics on the other degrees, diplomas, and certificates awarded to bass students. )
Performance Legacy:
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Solo Bass Premieres:
( A place to list all the world, national and school (city) related solo bass premieres that took place at the school.)
December 2, 2019, 7:00 p.m.
Paul Nemeth, DMA Recital
Domenico Dragonetti, Double Bass Concerto in G Major, Op. 1 (American Premiere)
Domenico Dragonetti, Variations on “God Save the Queen” (American Premiere)
Galvin Recital Hall – Event Link
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June 5, 2014, 7:30 p.m.
Andrew Raciti, Chamber Orchestra Concert.
Živojin Glišić, Concerto for Double Bass and Chamber Orchestra (2014) (Chicago premiere)
Pick-Staiger Concert Hall – NU Record
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July 29, 2003, 7:30 p.m.
Phillip Serna, Northwestern University Summer Orchestra Concert. “Unfinished Symphonies” series.
Edouard Tubin, Concerto for Double Bass and Orchestra (1948) (Chicago Premiere)
Pick-Staiger Concert Hall – Event Link – Video Link – NU Record
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Ensemble Premieres:
( A place to list all the world and national ensemble premieres that relate to, or feature bass in a meaningful way, and which took place at the school. This registry is designed feature both the chamber music and the larger ensemble premieres. )
Noted Concerts:
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Solo:
( A place to list all noted concerts that feature solo bass, whether as a single instrument, or with accompaniment (piano or an ensemble). This listing should feature all faculty, student or guest artist appearances at the school. Sample form below. )
Month xx, XXXX, 8:00pm
Event title:
Composer. Works performed
Composer. Works performed
Recorded in cite Hall here
Record Link
Chamber Music:
( A place to list all chamber music concerts of note with bass at the school. )
Orchestra:
( A place to list all noted school orchestra concerts, and particularly those that in some way may relate to bass. These could be the concerts with bass solos within the symphonic repertoire, or the school guest appearances outside the school in the prominent domestic and international halls. )
Jazz:
( A place to list all noted jazz concerts, whether faculty or student, and featuring any type of ensemble. A place to cite all guest appearances of noted guest jazz bassists too. )
Recordings:
( A place to cite all important recordings, whether made during the concert or in studio for the purpose of making a CD, LP or any other audio format. Designed to feature solo, chamber music and even orchestra recordings of relevance to bass. To be listed by date / year of production in chronological order with the latest one cited first. )
2009
Horn Muse. Gail Williams, 2011. CD. Record Link
2nd Work: Hill, Douglas. A set of Songs and Dances : for Horn, Clarinet, Vibes/percussion, Double Bass. Gail Williams, horn ; Larry Combs, clarinet ; She-e Wu, percussion ; Peter Lloyd, double bass. (19:52)
Recorded in Pick-Staiger Auditorium, Northwestern University, September 11-12, 2009 (2nd work)
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1990s
Four Inventions and a Fugue ; Song for Soprano ; Reflux ; Kindred Spirits. Hungaroton Classic, 2001. CD. Record Link
5th Work: Karlins, William. Reflux : A Concerto for Amplified Double Bass and Solo Wind Ensemble, Piano and Percussion. (1972) (18:40)
Bertram Turetzky, double bass, Northwestern University Symphonic Wind Ensemble ; John P. Paynter, conductor.
The work recorded live [at Northwestern University in the 1990s?].
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1991
Classics for All to Hear. Evanston, Ill: Music For All To Hear, 1991. CD. Record Link
Jeff Bradetich (double bass solo), Judi R. Bradetich (piano)
Recorded at Northwestern University, Evanston, IL, Sept. 1991.
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1986
Orchestral Lecture/recital with Hal Robinson, Double Bass. Houston, TX: Rice University, 2006. DVD Record Link
Lecture recital presented by Hal Robinson, principal double bass of the Philadelphia Orchestra at the 19th annual Midwest Double Bass Symposium. Contains excerpts from Mozart’s Symphonies 35 and 39-41; Haydn Symphonies 31 and 88, Mahler’s Symphonies 1 and 2; Beethoven’s Symphonies 5 and 9; Strauss’ Don Juan and Ein Heldenleben; Tchaikovsky’s Symphony 4; Brahms’ Symphonies 1 and 2; Verdi’s Otello; Britten’s Young person’s guide to the orchestra; Prokofiev’s Lt. Kije; Stravinsky’s Pulcinella and Ginastera’s Variaciones concertantes.
Recorded live April 5, 1986, Northwestern University.
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Competitions:
( A place to cite all national and international competitions that took place at the school and relate to bass in any capacity. )
Statistics:
( A place to offer performance related statistics on the number of bass recitals, chamber music concerts and the student orchestra concerts at the school. )
Pedagogy:
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Master Classes: 9
( A place to cite all Bass Master Classes on record. All sources at the school should to be consulted in order to make a comprehensive listing. Entries to be cited chronologically with the latest master class on the top. )
November 17, 2019
Caroline Emery, Double Bass Professor, Royal College of Music, London
November 5, 2014
David Allen Moore, Associate Double Bass Professor, USC Thornton School of Music ; Los Angeles Philharmonic, bass section.
February 23, 2014
Sidney King, Professor of Double Bass and Music Education, University of Louisville.
December 8, 2013
Paul Ellison, Professor of Double Bass at Shepherd School of Music, Rice University.
October 4, 2008
Lawrence Wolfe, Assistant Principal Bass, Boston Symphony Orchestra.
May 28, 2008
Tim Cobb, Principal Bass of The Metropolitan Opera Orchestra.
March 1, 2008
Joseph Guastafeste, Principal Bass of The Chicago Symphony Orchestra.
November 7, 1988
Wolfgang Güttler, Professor at Hochschule für Musik und Tanz Köln, Germany.
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October, 1986
Klaus Stoll, Principal Bass, Berlin Philharmonic.
( Review at ISB Journal XIII, No.2, 1987, pp. 6-7. )
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Standard Courses:
( A place to list all standard bass courses, such as Individual Bass Lessons (specify the lesson lengths and profile), orchestra bass classes, bass pedagogy course (if offered) and other courses related to bass. )
Special Courses:
( A place to list all special courses related to bass that are currently offered, or have been offered in the past. Courses such as individual studies and research projects, also, various other collaborations that may have included bass, and which can be corroborated by extant records. )
Summer Sessions:
( A place to list all summer bass courses and sessions affiliated in some way with the school or the school bass faculty. A place to mention any summer orchestra, chamber music and other programs that include bass. )
Methods:
( A place to cite all bass methods and etudes written by the present and former NEC bass faculty. Example below. )
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Benfield, Warren A, and James S. Dean. The Art of Double Bass Playing. Evanston, Ill: Summy-Birchard, 1973. Content Preview
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Lewis, Royce W. An Analytical Survey of Available Domestically Published String Bass Instruction Literature with an Original Handbook for Teaching String Bass. M.M. Thesis, Northwestern University, 1957. NU Record Link
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[ The “Original Handbook for Teaching String Bass” may actually be a small method, thus listed here. Further check needed ]
Orchestral Studies:
( A place to list all orchestra studies manuals that may have been written by bass faculty during their tenure with the school. )
Benfield, Warren. 20th Century Orchestra Studies for Double Bass. New York: G. Schirmer, 1972. Record Link
Conferences – Pedagogy:
( A place to list all national and international string and other pedagogy conferences that took place at the school, and featured bass related content. Commonly those will be the meetings of ASTA state and national chapters, NafME (former MENC) conferences and the International Society of Bassists (ISB) biannual conferences. To be listed chronologically with the latest first. )
June 19-23, 1984
International Society of Bassists Convention
Review: ISB Magazine. Vol. XI, No. 1, Fall 1984, p. 2-7.
Announcement: ISB Magazine. Vol. X, No. 1, Fall 1983, p. 3.
Scholarship Legacy:
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Theses:
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Doctoral:
Nemeth, Paul. The Early Publication History of Domenico Dragonetti. D.M.A. Thesis, Northwestern University, 2019.
Miller, Aaron N. Alec Wilder’s Works for Double Bass: Historical, Musical, and Technical Perspectives. D.M.A. Thesis, Northwestern University, 2016.
Wee, Christina C.-Y. P. A Historic Collaboration: The Piano and the “bass Violin” from Its Inception During the Baroque Period to the Twenty-First Century. D.M. Thesis, Northwestern University, 2007.
Lee, Shao-Lan. Research, Analysis and Pedagogical Application of Giovanni Bottesini’s Method for Double Bass. D.M. Thesis, Northwestern University, 2003.
Sturm, Hans M. Jazz Scaling for the Double Bass: Selected Recordings of Ron Carter and Richard Davis. D.M. Thesis, Northwestern University, 1995.
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Masters:
Poetzel, Rosemary A. The Influence of Gary Karr, Bass Virtuoso on Modern Double Bass Performance Practices. M.M. Thesis, Northwestern University, 1971.
Lewis, Royce W. An Analytical Survey of Available Domestically Published String Bass Instruction Literature with an Original Handbook for Teaching String Bass. M.M. Thesis, Northwestern University, 1957. Record Link
Merriam, Alan P. Instruments and Instrumental Usages in the History of Jazz. M.M. Thesis, Northwestern University, 1948. Record Link
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Bachelor:
Pecevski, Igor. Northwestern University Library String Bass Catalogue. 1989. Record Link
[ Although not a typical thesis work, this catalog was produced during Pecevski’s undergraduate years as an attempt to locate and catalog all double bass works at the Deering Music Library. ]
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Articles:
( A place to list all bass related articles written at the school by either students or faculty. To be listed chronologically with the latest one on the top. )
Lectures:
( A place to cite all faculty, student and guest lectures of relevance to bass that took place at the school. To be listed chronologically with the latest one on the top. )
June 23, 1984, 11:00am
Milt Hinton. 50 years of Jazz.
Part of the ISB 1984 Convention, Regenstein Hall.
The lecture presentation was about Milt Hinton’s large collection of jazz photographs.
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June 22, 1984, 11:00am
Rodney Slatford. Dragonetti, a Historical View.
Part of the ISB 1984 Convention, Pick- Staiger Hall.
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June 20, 1984, 11:00am
Inez Patterson Wyrick. How to Organize and Direct a Creative Bass Club.
Part of the ISB 1984 Convention, Pick-Staiger Hall.
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June 19, 1984, 11:00am
Gunther Schuller and James Decker. IVASI, Taped Orchestra Auditions / New Orchestra Audition Procedure.
Part of the ISB 1984 Convention, Pick-Staiger Hall.
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June 19, 1984, 3:30pm
Gunther Schuller, Rodney Slatford and Thomas Willis. Lecture-New Music Forum.
Part of the ISB 1984 Convention, Pick-Staiger Hall.
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Papers:
( A place to cite all faculty and student papers of relevance to bass produced at the school. To be listed chronologically with the latest one on the top. )
Citations:
( A place to list all other citations in any printed or online source that may refer to any person or scholarly activity related to bass and the school. )
Compositions:
( A place to cite all solo and chamber music compositions with bass written by faculty or students while affiliated with the school. The orchestra compositions that features bass solo, or emphasize bass in any significant way, should be cited here as well and with remarks on bass relevance. )
Solo:
( A place to cite all solo bass compositions written by students and faculty while affiliated with the school. This section should list all solo bass compositions, whether written for a single solo instrument, solo with piano accompaniment, or solo with an ensemble accompaniment. To be listed in chronologically with the latest one on the top. )
Chamber Music:
( A place to cite all chamber music compositions with bass and written by students or faculty while affiliated with the school. Chamber music here is defined as any ensemble of up to 9 players (nonet). The section should also include computer music and other non standard ensembles with bass for up to nine performers. To be listed chronologically with the latest entry on the top. )
Larger Ensembles:
( A place to list all larger ensemble or symphony orchestra compositions written by students or faculty while affiliated with the school, and which offer bass solos or noted bass section writing. Modern genres will sometime present ensemble repertoire that can be difficult to categorize specifically as a chamber or orchestra music. Thus, whenever the ensemble is larger then a nonet, it should be cited here. If smaller, it belongs to the chamber music section. Entries should be cited chronologically with the most recent first. )
Editions:
( A place to cite all bass editions produced by faculty or students while affiliated with the school. These can represent the new compositions, the editions of extant original solo or chamber music compositions, or the arrangements of works conceived for other instruments. )
Original Repertoire:
( A place to cite all editions of the original bass repertoire edited by the faculty and students while affiliated with the school. To be listed chronologically with the latest cited first. )
Arrangements:
( A place to cite the arrangement editions of repertoire intended for other instruments and made by the faculty or students while affiliated with the school. To be listed chronologically with the latest cited first. )
Conferences – Scholarship:
( A place to cite all musicology, theory, organology or other scholarly conferences that took place at the school and featured a bass related content. To be cited chronologically with the latest first. )
Bibliography:
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School Histories:
( A place to cite all printed histories about the school. Examples below. )
Rebstock, Heather. Advancing Music for a Century: The First Hundred Years of Northwestern University’s School of Music. Evanston, Ill: Northwestern University, 2002.
Lutikin, Peter. “Chapter XV, University School of Music.”History of Northwestern University and Evanston. Edited by Robert D. Sheppard and Harvey B. Hurd. Chicago: Munsell Publishing Company, 1906. pp. 131-148. Online View – Internet Archive
Other Books:
( A place to cite all other books that may offer information on bass faculty, students and bass related activities at the school. )
Articles:
( A place to cite all other articles that may offer information on bass faculty, students and bass related activities at the school. This is the place where all local, national and international newspapers articles with content on the school bass faculty, students and their activities should be cited. )
Lectures:
( A place to cite all lectures that took place outside of the school and which feature the bass activities and personalities related to the school. )
Papers:
( A place to cite all papers written outside of the school and which address in some way the bass activities or personalities affiliated with the school. )
Interviews:
( A place to cite all interviews of the school bass faculty, students or other bassists that took place at the school, or relate to the school, whether featured locally, nationally or internationally. All formats to be featured, including newspapers, other print, radio, modern blog or some other online presentation format. )
Citations:
( A place for all other citations from any source that may pertain to bass activities at the school. )
Online:
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General:
( A place to cite all online pages that present the school, its history and activities. Commonly those will be Wikipedia pages, the available online encyclopaedic entries, free scholarly articles within various blogs, and likely other sources. )
Wikipedia – Bienen School of Music
Social Media:
Facebook – Bienen School of Music
Twitter – Bienen School of Music
Instagram – Bienen School of Music
Videos:
Vimeo – Bienen School of Music
Library:
Northwestern University Music Library
Among the largest music collections in the U.S., the Northwestern University Music Library has an unmatched strength in 20th century and contemporary classical music, and holds at least one copy of nearly every new score published since 1945. Its more than 300,000 volumes of books, scores, sound recordings, and journals also include collections of original manuscripts and correspondence, notably, the John Cage collection, which documents the life and work of the 20th century’s most revolutionary composer.
Address:
Music Library
Northwestern University Libraries
1970 Campus Dr.
Evanston, IL 60201
• Contact
Autographs:
( A place to cite all bass related autograph manuscript scores at the school. Samples below. )
Asioli, Bonifazio, and Domenico Dragonetti.
• Elementi Per Il Contrabasso Con Una Nuova Maniera Di Digitare, 1830.
Music Library General Manuscript Collection MSS 643, NU Record – WorldCat Record
Manuscript Musical Score, Archival Material
Double bass tutor, in Italian, describing the Dragonetti system for fingering the double bass.
Ms. double bass tutor (12 p.) in brown ink and bound with engraved copy of Asioli method book.
Includes diagram of the Dragonetti bow and the correct way to hold it on front end-paper.
NU Record Note:
“At the end of the printed method there are two examples of the slow movements of Beethoven’s fourth and fifth symphony written in manuscript, in a different hand to that of the scribe in the double bass tutor. It is not clear if this is a reference to the Asioli method or the tutor, but Dragonetti did transpose Beethoven’s Fifth symphony up an octave so that it sounded at written pitch and not an octave below.”
ABP Note:
The record description is not clear in respect to what part of this bound collection is actually by Dragonetti and what by Assioli. This valuable document certainly deserves further investigation in order to be properly evaluated and described. Otherwise, Asioli was not a bass player, but a composer and noted Italian music administrator. He wrote several tutors (methods) for various instruments during his tenure as the first director of Milan Conservatory (1807-1814), and subsequently, an independent music teacher in Corregio, Italy. It is likely that this manuscript dates to that time and includes the Asioli’s printed Elementi per il Contrabasso. Milan, 1832. (see ABP Methods Asioli, Bonifazio).
Autograph View:
Dragonetti Fingering System – Northwestern University Sample
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• Sonatina (concertino) for st[ring] bass, n.d.
Music Library, American Music Edition records (AME), Manuscript Scores, Box: 14, Folder: 9 NU Record
ABP Note:
Assuming that all items in the AME section are manuscripts, this Sonatina/ Concertino should be one as well. The record for this composition also states “n.d.” meaning not dated, however the year 1953 associated with composer’s name in the NU Record should indicate the composition date. Otherwise, Boda’s complete catalogue of works presents both the Concertino (1956) and Sonatina (1956) in his opus, and this manuscript may predate both compositions. Boda Catalog of Works – pdf Link
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Cage, John (1912-1992) and Christian Wolff (1934)
• John Cage’s Realization of for 6 or 7 Players, 1959.
Music Library Manuscript Collection MSS 1447 NU Record – WorldCat Record Link
Manuscript Musical Score, Archival Material.
For Bb trumpet, trombone, piano, violin, viola, double bass and (optional) flute/piccolo.
Manuscript (diazotype) in John Cage’s hand with ms. annotations in red ink in Cage’s hand in the score and ms. annotation in pencil in an unknown hand on the double bass part.
The music was written for the Merce Cunningham Dance Rune in 1959. The score is a recasting by Cage of the original score material in order to make that material more practical for performance.
ABP Note:
This composition appears to be some kind of a free arrangement of Christian Wolff’s own work by John Cage and in Cage’s writing. Wolff and Cage were otherwise close associates, however it would be of value to investigate further how this work originated and how each composer contributed to it.
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Czerwonky, Richard (1886-1949)
• Hungarian Rhapsody, n.d.
Music Library, Richard Czerwonky music manuscripts and papers (Czerwonky), Music Manuscripts, Box: 1, Folder: 21 NU Record
Instrumentation: violin (2), cello, bass, piano
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• Overture, n.d.
Music Library, Richard Czerwonky music manuscripts and papers (Czerwonky), Music Manuscripts, Box: 1, Folder: 23 NU Record
Instrumentation: violin (2), viola, cello, bass, harmonium, piano, percussion
ABP Note:
Although the Overture title implies a bigger ensemble, the NU classification indicates a chamber ensemble here.
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• Valse Lente, [after 1929]
Music Library, Richard Czerwonky music manuscripts and papers (Czerwonky), Music Manuscripts, Box: 1, Folder: 24 NU Record
Instrumentation: flute, clarinet, violin (2), cello, bass
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Dragonetti, Domenico (1763-1846)
• See Asioli above, also check Dragonetti under Legacies heading.
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• A Fable : Tenor, Harp and Double Bass, (1987)
Music Library, William Ferris music manuscripts and papers, Box: 15, Folder: 39 NU Record
Sketch, in pencil (12 p.)
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• Lullaby for a Little One : Double Bass and Piano (1988)
Music Library, William Ferris music manuscripts and papers, Box: 15, Folder: 44 NU Record
Full score, in ink (6 p.); Sketches, in pencil (4 p.)
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• Recordare : for Double Bass and Chamber Orchestra (1991)
Music Library, William Ferris music manuscripts and papers, Box: 12, Folder: 20 NU Record
Full score, in pencil (28 leaves); Sketches, in pencil and red pencil (13 p.)
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• Three Spirituals : Tenor, Harp and Double Bass (1990)
Music Library, William Ferris music manuscripts and papers, Box: 16, Folder: 47 NU Record
Full score, in ink (18 p.); Sketches, in pencil (20 p.)
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Heussenstamm, George (1926)
• Pentalogue : Op. 40 (1971)
Music Library Manuscript Collection MSS 389 NU Record
For double bass and pre-recorded 4-channel tape.
1 manuscript score (37 pages) ; 32 x 49 cm. + commentary ([13] pages, [8] leaves)
Autograph View:
Score Page – Northwestern University Sample
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• Alap : for String Bass (1996)
Music Library, Ben Johnston papers, Music Manuscripts, Box: 8, Folder: 16 NU Record
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• Duo for Flute and String Bass (1963)
Music Library, Ben Johnston papers, Music Manuscripts, Box: 52, Folder: 3, Identifier: Folder 5 NU Record
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• Progression : (Blues) : for String Bass Solo (1993)
Music Library, Ben Johnston papers, Music Manuscripts, Box: 8, Folder: 15 NU Record
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• Octet for Flute, Oboe, Clarinet, Trumpet, Trombone, Tuba, Viola, and Double Bass, n.d.
Music Library, Ben Johnston papers, Music Manuscripts, Box: 7, Folder: 28 NU Record
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• Septet for Wind Quintet, Violoncello, and Double Bass (1956-1958)
Music Library, Ben Johnston papers, Music Manuscripts, Box: 7, Folder: 2 NU Record
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• Sketch of the Little Black Boy (William Blake) for Soprano, Viola, Double Bass, and Percussion
Music Library, Ben Johnston papers, Music Manuscripts, National Music Notebook, n.d. Box: 9, Folder: 11 NU Record
ABP Note:
The title of this sketch is listed under “Additional Description” tag.
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• Trio Variations for Flute, Clarinet, and Double Bass (1994)
Music Library, Ben Johnston papers, Music Manuscripts, National Music Notebook, n.d. Box: 7, Folder: 18 NU Record
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Karlins, Williams M. (1932-2005)
• Concerto for D.b. & Wind Ensemb[le]. (Reflux), 1972.
Music Library Manuscript Collection MSS 212 NU Record – WorldCat Record
For double bass, 4 flutes, 2 oboes, 4 clarinets, 2 bassoons, 3 saxophones, 2 horns, 3 trumpets, 3 trombones, tuba, piano, celesta and 4 percussionists.
Holograph of 1st draft of score, in pencil with additional markings in red ink or red pencil; also includes [16] p. of preliminary sketches, signed.
“Aug. 26, 1971. M. Wm. Karlins”–Caption of prelim. sketch.
At end of score sketch: 1st sketch finished Monday January 3, 1972. Sketch completed-revised. M. William Karlins.
Autograph View:
“Insert Page” – Northwestern University Sample
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• C Minor Fugue – “Concerto for Double Bass and Winds” (1963-1982), n.d.
Northwestern University Archives, M. William Karlins papers, Sketches, Box: 1, Folder: 10 NU Record
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• After the Bomb : A Song for Baritone, Marimba and Contrabass, (1984)
Music Library, Robert Lombardo Papers, Miscellaneous Sketches, Box: 1, Folder: 4 NU Record
Preliminary draft in pencil (7 leaves ; 31 cm)
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• Audio-Visual Events : Two Mini-Pieces : (First and Last Pieces for Magnetic Tape and Double Bass)
Music Library, Robert Lombardo Papers, Miscellaneous Sketches, Box: 15, Folder: 11 NU Record
Sketches in pencil, and red and black ink on various sizes of music manuscript paper and vellum (30 p. ; 35 cm)
ABP Note:
The title of this piece is cited under the tab “Additional Description” of the record.
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• Bedtime Story : for Baritone, Marimba and Contrabass, (1984-1988)
Music Library, Robert Lombardo Papers, Miscellaneous Sketches, Box: 1, Folder: 26 NU Record
Final draft in black ink on vellum paper (9 leaves ; 36 cm)
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• In Memoriam Susanne Cahn : for Flute, Oboe, Clarinet, Piano, Violin, Violoncello and Double Bass (1962)
Music Library, Robert Lombardo Papers, Music Manuscripts, Box: 6, Folder: 10 NU Record
Final draft in black ink on vellum paper (32 leaves ; 35 cm)
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• Nocturne for Contrabass Alone (1966 )
Music Library, Robert Lombardo Papers, Music Manuscripts, Box: 8, Folder: 15 NU Record
Final draft in black ink (3 leaves ; 35 cm) ; Sketches in pencil and red ink (10 leaves ; 32 cm or smaller)
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• Program Notes : for Flute, Bass Clarinet, Vibraphone, Soprano and Contrabass (1969)
Music Library, Robert Lombardo Papers, Miscellaneous Sketches, Box: 10, Folder: 2 NU Record
Final draft in black ink on vellum paper (16 leaves ; 35 cm) ; Sketches in ink and pencil (56 leaves ; 28 cm)
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• Three Italian Poems : for Flute, Percussion, Contrabass and Speaker (1964)
Music Library, Robert Lombardo Papers, Music Manuscripts, Box: 13, Folder: 19 NU Record
Sketches in pencil and blue and red crayon (14 p. ; 35 cm) ; Final draft in black ink on vellum paper (10 leaves ; 35 cm)
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• Tre Laude per Flauto, Viola e Contrabasso ( undated )
Music Library, Robert Lombardo Papers, Music Manuscripts, Box: 14, Folder: 7 NU Record
Sketch from 1st movement in pencil and red crayon (1 leaf ; 28 cm) ; Diazotype copy of p. 1-4 of final draft (movement 1 and part of movement 2) (4 leaves ; 35 cm)
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Meerovich, Mikhail (1920-1993)
• Kontsert dlia Goboia, Dvukh Skripok i Kontrabasa (1979)
Music Library Manuscript Collection MSS 1478 NU Record
Translated: Concerto for Oboe, Two Violins and Double Bass
Final draft (photocopy).
“24/VIII 1979”–Page 46.
ABP Note:
This concerto is actually a photocopy of the composer’s manuscript, thus not an original autograph. Yet, after a search of WorldCat it appears that there are no other official printed editions of this piece listed there. Thus the copy in the NU collections may be the only one in the western world or wider. Also, and judging from the title, it is not clear if this concerto is intended for solo oboe with accompaniment of three stringed instruments, or perhaps as a piece that features all instruments equally. Further research needed.
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Perle, George (1915-2009)
• Monody No. 2 for Double Bass. , 1962.
Music Library General Manuscript Collection (MSS 425) NU Record
[ 4 ] pages of manuscript music ; 32 x 25 cm.. Holograph, in pencil with additional markings in blue ink and colored pencil, signed. “For Burt Turetsky”
Autograph View:
1st Page – Northwestern University Sample
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• Dramatic Prelude No. 2 for Double Bass and Piano (?)
Music Library, Sam Raphling scores (Raphling), Box: 20, Folder: 1 NU Record
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• Nocturne – Prelude for Double Bass and Piano (?)
Music Library, Sam Raphling scores (Raphling), Box: 44, Folder: 10 NU Record
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• Three Pieces for Piccolo, Bb Clarinet and Double Bass (?)
Music Library, Sam Raphling scores (Raphling), Box: 81, Folder: 5 NU Record
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• Lyric Prelude (Chamber Ensemble)
Music Library, Sam Raphling scores (Raphling), Box: 37, Folder: 6 NU Record Link
ABP Note:
The record for this composition does not list the instruments involved, however the piece may be related to another solo bass composition with the same title. There is a WorldCat record of a Lyric Prelude intended for Trombone and Piano, and transcribed for Bass and Piano. Whether this transcription was rendered by composer himself, or the bassist-editor Henry Block, is unclear. Further research may clarify if the Lyric Prelude from the NU Collections may relate to the Lyric Prelude bass edition below.
Raphling, Sam, and Henry Bloch. Lyric Prelude for Trombone and Piano: Transcribed for Bass and Piano. New York: Edition Musicus, 1950. WorldCat Record Link
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• A Triptych of Diversions. Sonatina (1962)
Music Library, Leo Sowerby papers (Sowerby) Music manuscripts, Box: 6, Folder: 43 NU Record
For organ, oboe, 2 violins, double bass, and percussion
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• A Triptych of Diversions. Fugue (1962)
Music Library, Leo Sowerby papers (Sowerby) Music manuscripts, Box: 6, Folder: 44 NU Record
For organ, oboe, 2 violins, double bass, and percussion
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• A Triptych of Diversions. Variations on Diverted Tune (1962)
Music Library, Leo Sowerby papers (Sowerby) Music manuscripts, Box: 6, Folder: 45 NU Record
For organ, oboe, 2 violins, double bass, and percussion
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Stein, Leon (1910-2002)
• Three for Nine : for Flute, Oboe, Clarinet, Horn, bassoon, Violin, Viola, Violoncello and Bass (date not available)
Music Library Manuscript Collection MSS 271 NU Record
This nonet is a part of “Miscellaneous Works” collection by Leo Stein that resides under the above call number.
ABP Note:
There is no precise date nor any other information associated with this nonet. Likewise no indication if it may be an original autograph or possibly a copy. This piece exists in two other records on WorldCat, yet both of them appear to be a derivative’s of the composer’s original and not the official printed editions. Further research needed.
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• Arioso and Etude for Double-Bass and Piano, 1953.
Music Library, American Music Edition records (AME), Box: 20, Folder: 16, Item: 1 Mixed Items NU Record
Content: Manuscript Scores
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• Three Pieces for Contrabass and Piano, Op. 63 (1961)
Music Library, Allan Stout Manuscript Scores. Box: 2, Folder: 9 NU Record
Content: Editions for orchestral (C) and solo (D) tunings.
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• Opus 63: Three Pieces for Contrabass and Piano (1961 – 1964)
Northwestern University Archives, Allan Stout Papers, Scores, parts Sketches, Box: 13, Folder: 14, Identifier: Sub-Series 5.2 NU Record
ABP Note:
It appears that the Three Pieces exists in two different locations within the Stout collection. This record may represent the sketches, while the first one may the finished manuscript. Further research needed.
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• Septet for 2 Violins, 2 Violas, 2 Cellos, [and] Contrabass, Op. 64 (1961)
Music Library, Allan Stout Manuscript Scores. Box: 2, Folder: 10 NU Record
Content: Editions for orchestral (C) and solo (D) tunings.
ABP Note:
It is interesting to observe that although this record refers to Septet, we have a note on Orchestral and Solo tunings. This could be a mistake, or the bass has a solo part in this piece and in fact there are two versions to accommodate two tunings of the double bass part?
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Vlad, Ulpiu (1945)
• Mozaic = Mosaic : contrabasso ( 1970s )
Music Library Manuscript Collection MSS 769, NU Record
9 p. of ms. music ; 35 cm. in an envelope 28 x 38 cm.
Autograph View:
1st Page – Northwestern University Sample
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Legacies:
( A place to cite all personal bass related legacies and estates held at the school library. Commonly those will be the personal estates of the former bass faculty, or the active composers, faculty or other musicians that have left some bass content among their papers. Samples below. )
Domenico Dragonetti (1763-1846)
Northwestern collections contain several unique sets of valuable documents related to Dragonetti. However, these materials are dispersed over many different depositories and it is hoped that the featured guide lists all of the important ones. Should by chance any other Dragonetti materials be discovered within the NU collections, this listing will be updated accordingly. For other individual letters related to Dragonetti please check the School Archives section below too.
• Music Library Manuscript Collection MSS 644 NU Record
[ Miscellaneous sketches, compositions and arrangements ]
Dragonetti, Domenico, 1763-1846.
NU Content Notes:
Includes three pieces by Handel, one identified by Vincent Novello as the bass part to Handel’s “O Baal,” a piano-vocal arr. of “Comfort ye my people” from Messiah, and a trio with parts for two violins; a duet with Italian text titled “Ami doman,” cited in the Dragonetti manuscript in Hughes-Hughes, Ad 17830, for solo and chorus, from an unidentified opera; also a sketch (35 measures) for piano.
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Holograph, in brown ink, with corrections and some passages crossed out in brown ink, pencil and brown crayon.
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“This copy of the bass part to Handel’s ‘O Baal!’ is in the hand-writing of Signor Dragonetti. V. Novello”–Caption.
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In left-hand margin of 1st p. of Handel trio: “The handwriting of Dragonetti, Vincent Novello…”
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ABP Note:
The content description indicates compositions for various instruments that relate to Dragonetti, but only one of them is clearly identified as a bass pertinent one: “the bass part to Handel’s ‘O Baal!’ ” Perhaps there may be more content in this volume that can relate to double bass?
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• Moldenhauer Collection: Box 5, Folder 35, Sub-Series 1. NU Record Link
Content: 60 letters and documents to, from or regarding Dragonetti compiled by Arthur F. Hill, 1799-1819.
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• Moldenhauer Collection: Box 5, Folder 36, Sub-Series 1. NU Record Link
Content: 104 letters and documents to, from or regarding Dragonetti compiled by Arthur F. Hill, 1820-1849.
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• Moldenhauer Collection: Box 5, Folder 37, Sub-Series 1. NU Record Link
Content: 82 letters and documents to, from or regarding Dragonetti compiled by Arthur F. Hill, undated.
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• Moldenhauer Collection: Box: 6, Folder: 55, Item: 1 Identifier: Sub-Series 2 NU Record Link
Content: Dominico Dragonetti, Litograph Portrait, Undated.
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• Moldenhauer Collection: Box: 6, Folder: 55, Item: 2 Identifier: Sub-Series 2 NU Record Link
Content: Dominico Dragonetti, 3 print Portraits, Undated.
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• Moldenhauer Collection: Box 28, Folder 2, Sub-Series 3. NU Record Link
Content: A documentary volume or scrapbook from the library of Arthur F. Hill containing 75 items related to Dragonetti including autograph letters, manuscripts and other documents. A manuscript arrangement of “Corelli’s Favorite Solo in A,” op. 5, No. 9, with bass accompaniment is also included, 1814-1837
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• Moldenhauer Collection: Box 28, Folder 3, Sub-Series 3. NU Record Link
Content: Dragonetti, Dominico, 1763-1846: Caricature drawing, “Une reunion de mélomanes, ou les foreigners a la merci du temps!”, 1842 April.
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• Jerry Fuller Papers and Music Scores. NU Record Link
Scope and Contents: The Jerry Fuller Papers contains music scores, programs, sound recordings, photos, clippings, correspondence, publication materials, and other concert related materials. Some prominent musicians and composers represented in the collection include William Ferris (1937-2000), William Russo (1927-2003), and Rachel Barton Pine (b. 1974).
Jerry Fuller is a noted bassist, bass scholar, philanthropist and music educator. During his productive career he developed a wide network of acquaintances in bass, collegiate and other fields.
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School Archive:
Archival and Manuscript Collections – Music Library
Collection of single letters, manuscripts, photographs, and ephemera relating to composers, conductors, performers, musicologists, publishers, librettists, and stage directors. Time period covered: 1819-2007. Location: Music Library.
Bass relevant documents:
• Letter by Domenico Dragonetti, 1831-02-10.
Music-related autographs collection (Music Autographs) Box: 3, Folder: .D85. NU Record
ABP Note:
The NU Record points to a letter dated February 10, 1831 and offers no additional information. This letter appears to reside outside of the collection of Dragonetti’s artifacts in Moldenhauer Collection listed under Legacies section above.
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• Letter to Dominico Dragonetti (by Nicolo Paganini ?)
Moldenhauer Collection ; Correspondence ; Paganini, Nicolo Box: 4, Item 3. NU Record
ABP Note:
This should be a letter from Paganini to Dragonetti that resides within the Moldehauer Collection. This letter is not a part of the Dragonetti’s artifacts in Moldenhauer Collection listed under Legacies section above.
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• Letter by Waldemar Giese
Fritz Reiner Correspondence Collection, Box: 3, Folder: .D85. NU Record
ABP Note:
In addition to the letter, the “Additional Description” of this record points to a photograph, which may be related to Giese, Reiner or both, and located in this folder.
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• Letter by John Cage
Music Library, John Cage Correspondence Collection, Box: 78, Folder: 11, Sleeve: 7, Identifier: id110931. NU Record
ABP Note:
The title of this record states: “Steinberger bass guitar material; 3 items, 1987 (ca.).” Nothing else on the nature of these documents is noted. These could be some photos that point to Cage’s interest in bass guitar.
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ABP Note – General NU Archival Collections:
For broader search of all Northwestern University collections located in various archives within the university, please use the NU Archival Music Collections general page. Many of the entries located there will overlap with the Music Library – Archival Collections, but some may not.
Instrument Collection:
( Some schools may own an instrument collection that includes quality basses available to both students and faculty. If such a collection exists within the school and offers bass instruments of higher quality, then these instruments should be cited here. If the collection incorporates viola da gambas or other period bass instruments, these should be cited as well. Also, if the collection has existed for years and have already been catalogued and featured in various publications, then the bibliography containing books, pamphlets, registries, exhibits and similar items should be featured here too. Generic entry sample below. )
School Instrument Collection (to be linked if the collection has a separate page)
Instrument Make, Year
Instrument Make, Year ( 6 string G Violone ) (an example)
Bibliography
Last, First. Ttitle MLA format.
Last, First. Ttitle MLA format.
Facilities:
( A place to feature all school facilities in detail for prospective bass students and anyone else interested. To include an overview of the main building history, the main hall and other performing spaces, as well as the student dormitories and living quarters. )
Ryan Center for the Musical Arts
Ryan Center is the main facility for the Bienen School and it offers the following halls:
• Mary B. Galvin Recital Hall ( Capacity: 400 seats )
• David and Carol McClintock Recital Room ( Capacity: 120 seats )
An excellent overview of the Ryan Center is presented in Laurie Niles’ interview with Dean Toni-Marie Montgomery. Violinist.com – Article
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Main Concert Hall
• Pick Staiger Concert Hall ( Capacity: 989 seats )
This is the main orchestra hall in which the NU Symphony Orchestra and other large ensembles rehearse and perform. It is located just yards away from the Ryan Center and Regenstein Building.
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Regenstein Hall of Music 1 – Regenstein Hall of Music 2
• Master Class Room ( Capacity: 200 seats )
Regenstein building is adjoined now to Ryan Center and they form a single facility now. The Master Class Room (formerly Regenstien Recital Hall) used to be in service as the main recital hall beside the old Lutkin Hall before the construction of the Ryan Center.
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Old Campus
• Music Administration Building (1874)
Music Administration Building is no longer in service of the Bienen School. It was built in 1874 to serve as a Women’s College dormitory, while at the same time the top floor was occupied by the music department. It was known initially as Women’s Hall, later Willard Hall, while in 1940 it was repurposed entirely to the service of the School of Music and then it became the Music Administration Building. It offered practice rooms, classrooms and the administration space for the school. Yet, due to a need for a new facility and a unification of all school buildings on the same ground, its service to the school inevitably come to end in 2015. More on the history of this venerable edifice at the Chicago Tribune story by Howard Reich Article Link
• Lutkin Memorial Hall (1941) ( Capacity: 289 seats )
Lutkin Hall is no longer in the service of the Bienen School. Built in 1941 and named after the first Dean of the School of Music, Dr. Peter Christian Lutkin, it has served as a recital hall for many generations of Northwestern students and faculty. Northwestern Magazine 2012 Feature
In 1897 the School of Music had finally received its own facilities in the Music Hall, which at that time could provide the faculty and students a comfortable and dedicated music building away from Women’s College at the top floor of Willard Hall. This edifice is now in the service of NU Human Resources department. Google Maps Street View
Period Photo – Pridmore, Jay. Northwestern University : Celebrating 150 Years. Northwestern University Press, 2000. p. 77 ( page bottom )
Period Photo – Willard Hall and Music Hall – NU Digital Collections Link
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Iconography:
( A place designed to feature Photos, Drawings, Paintings, Plaques and other bass related iconography of interest from the school’s past and present. )
Faculty
( A place to present historical drawings, paintings, photos and other representations of the school bass faculty. )
Students:
( A place to present historical photos of bass students at the school. Commonly those will be the photos of bass students at an ensemble or while in bass class. If the photo is older it may take some time to discover the identity of the featured students. A sample entry form below. )
• The School Orchestra (1940s) – Photo (to be linked here)
[ details on photo here ]
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Buildings:
( A place to present historical images of the school buildings and facilities. Examples below. )
Willard Hall (1874)
Period Post Card (postmark 1907) – In the background right visible also Music Hall. – NU Digital Images
Period Post Card (postmark 1914) – depiction of the hall in red brick (likely the original appearance at the time before it became white as known today). – NU Digital Images
Period Post Card (not stamped) – Likely from the late 1920s judging from the car models depicted. The grand entrance staircase is already removed, and the metal fire escapes by the windows installed. – NU Digital Images
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Music Hall (1897)
Period Photo – Likely from the early 20th century since the horse drawn carriage is visible at the right – NU Digital Images
Period Photo – Willard Hall and Music Hall – NU Digital Collections Link
Period Photo – Pridmore, Jay. Northwestern University : Celebrating 150 Years. Northwestern University Press, 2000. p. 77 ( page bottom )
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Lutkin Hall (1941)
Early Photo – NU Digital Images
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Footnotes:
1. Patrick G. and Shirley W. Ryan Center for the Musical Arts represents the main facility of the Bienen School. For more on this exceptional edifice please check the Facilities section.
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2. In 1873 the Evanston College for Ladies, with its well developed music department, was incorporated into the Northwestern University. That incorporation was done “together with plans for the formation of a Conservatory of Music on the European plan” and thus 1873 stands as the official year for the formation of music instruction at the university. More details at:
Lutikin, Peter. “Chapter XV, University School of Music. ”History of Northwestern University and Evanston. Edited by Robert D. Sheppard and Harvey B. Hurd. Chicago: Munsell Publishing Company, 1906. p. 134.
Additional information also at the official Beienen School History Page and the Northwestern University, The School of Music Annual Announcement 1918-1920. p. 6 (History)
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3. Northwestern University, The School of Music Bulletin, 1947. p. 4 cites “Vaclav Jiskra, Instructor in String Bass” (snippet view). However, whether Prof. Jiskra may have started to teach at Northwestern at even earlier date, depends on what the other extant NU bulletins may indicate.
Otherwise the first record of any performance with bass at Northwestern could be the record of a chamber ensemble performance of a Shubert’s Quintet, Op. 114 (“The Trout”). That event took place at Northwestern sometime during the 7 year period prior to 1906. Yet, whether the bassist for this occasion was affiliated with Northwestern in some way, or has just came for the occasion to help the faculty of the existing Northwestern string quartet, is the question that further research may clarify. This quintet performance is cited as a part of performed repertoire listing at: History of Northwestern University and Evanston. Edited by Robert D. Sheppard and Harvey B. Hurd. Chicago: Munsell Publishing Company, 1906. p. 142.
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4. The bass instruction in American schools and conservatories that took place prior to the second quarter of the 20th century was commonly not profiled for a degree with major in double bass. So, it would be of value to find when exactly was the first Bachelor degree in bass conferred at Northwestern, and likewise what other degrees may have been awarded to bass students prior to that time.
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5. The listing of school names at Northwestern points to several early phases of the school organization and evolution. Orginally, the teaching of music at Northwestern was organized through the Department of Music inherited from the incorporated Evanston College for Ladies that itself was incorporated by a merger of Northwestern Female College and the Evanston College for the Ladies in 1871. Details at History of Northwestern University and Evanston. 1906 p. 134.
In 1874 the Women’s College had relocated to the new Women’s Hall (later Willard Hall, i.e. Music Administration Building) that became synonymous with Women’s College and the music at Northwestern. In the same year the music department was transferred to the top floor of this building. From 1873 to 1876 the music was still called a “Department” but with the arrival of a new director Oren E. Locke in 1876, the department has changed title to the Conservatory of Music. Since Oren E. Locke was a student of both Leipzig and Boston conservatories, his ideas on organizing the music at Northwestern have been modeled on the conservatory system, and thus the name was changed too.
This institution format, however, did not seem to attract enough students for a sustained income, and was thus again reformed back to the Department title in 1891 under the new direction of Dr. Peter Lutkin. He took an effort to reorganize the NU music again into the school format in 1895, which at that time implied a professional school structured in similar way to the other dedicated professional schools of the university.
The title of School of Music has remained until 2008, when the name was changed to Henry and Lehig Bienen School of Music in honor of NU president Henry Bienen and his wife Lehigh Bienen, who have made possible further development and unification of all music instruction at the new Ryan Center in 2015.
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6. In addition to standard study programs, Bienen School is well positioned to offer a strong program for the study of contemporary music as well. The Institute of New Music is one venue that can support such an interest, while the extensive contemporary music collections at the music library are the other. The contemporary music collections at the NU library were developed by a unique foresight of the former music library director Don Roberts. For the autographs of the contemporary bass repertoire please check the Autographs section of this page.
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7. The Bass Faculty listing at the present Beta Development Phase is unfortunately not complete, as some data on faculty involvement and dates of their service is still missing. Any assistance in filling the blanks on the former bass faculty will be greatly appreciated and certainly credited here as well.
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8. All noted alumni are listed in alphabetical order by their last name, so you will find no inherent “hierarchy” in the order of these citations. Also, the alumni section here indicates both the graduates of Northwestern and those who studied for a while at Northwestern without graduating. Should you know of any deserving bassist with former connections to Northwestern that is not listed here, please contact ABP and your effort will be credited on this page.
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9. All the professorial titles and the school affiliations of the master class presenters are given as they were at the time of the event. Some of the honored professors may have moved to the other positions, the other schools or may even be retired at the present.
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Beta Posted: March 17, 2021
Academic Bass Portal 
