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Double Bass Sound Christine Hoock MOZARTEUM DOUBLE BASS SOUND CHRISTINE HOOCK RECORDS MOZARTEUM DOUBLE BASS SOUND – Christine Hoock Die CD-Reihe „Mozarteum-Sound“ hat es sich ten und Studierenden ihrer Klasse im Fokus dieser zum Ziel gesetzt, hervorragende künstlerische Aufnahme. Als Partner standen ihr bei der Reali- Leistungen wie auch eine besondere Klangästhetik sierung dieses breitgefächerten Repertoires Hans- – immer in Bezug auf ein bestimmtes Instrument jörg Angerer (Chefdirigent der Bläserphilharmonie – an der Universität Mozarteum Salzburg zu do- Mozarteum Salzburg), Benjamin Schmid (Violine), kumentieren. Mari Kato (Klavier), Ariane Haering (Klavier), Bar- bara Nussbaum (Klavier) und DJ UmbertoEcho (Mi- Diesmal dem Kontrabass mit seiner außerordent- xing Desk) zur Seite. lichen Beweglichkeit, seinem Farbenreichtum und seiner Virtuosität – dabei oft nahezu archaische Klangwelten erschaffend – gewidmet, steht die au- ßergewöhnliche Kontrabass-Künstlerin Christine Hoock gemeinsam mit Absolventinnen/Absolven- MOZARTEUM DOUBLE BASS SOUND – Christine Hoock The CD series Mozarteum Sound aims to docu- the Bläserphilharmonie Mozarteum Salzburg), ment excellent artistic achievements at the Moz- Benjamin Schmid (violin), Mari Kato (piano), Ariane arteum University as well as a particular kind of Haering (piano), Barbara Nussbaum (piano) and aesthetic sound, always related to a certain in- DJ UmbertoEcho (mixing desk). strument. This recording is devoted to the double bass and reveals its extraordinary fl exibility, rich colours and virtuosity, and features the outstanding double bass player Christine Hoock, together with graduates and students from her class. Partners in the realization of this broad repertoire were Hansjörg Angerer (principal conductor of 1 1 CHRISTINE HOOCK „... jeder entscheidet sich intuitiv für das Instru- Dies spiegelt sich auch in ihrer abwechslungsrei- Die Preisträgerin internationaler Wettbewerbe ar- Christine Hoock leitet die Internationale Johann- ment, dessen Tonhöhe und Klangfarbe seine innere chen Diskographie wieder. Zu ihren künstlerischen beitete während ihres langjährigen Engagements Matthias-Sperger Gesellschaft für Kontrabass. Bei Saite vibrieren lässt...“ Partnern gehören Benjamin Schmid, Maxim Rysa- als Solokontrabassistin des WDR Sinfonie Orches- der „International Rhodius Academy for Double nov, Alessandro Taverna, Quadro Nuevo oder John ters Köln und anderen deutschen Spitzenorches- Bass“ auf Schloss Namedy hat sie die künstlerische Christine Hoock ist als begeisternde Kontrabass- Goldsby. tern mit Dirigenten wie Semyon Bychkov, Gary Leitung inne. Solistin und Kammermusikerin international tätig. Bertini, Pinchas Zukerman, André Previn, Rudolf Noch während ihrer Studien in Frankfurt und Genf Konzertreisen und Masterclasses führen Christine Barschai u. a. zusammen. Christine spielt ein englisches Instrument von Wil- bei Günter Klaus und Franco Petracchi gründete die rund um den Erdball. Sie konzertiert regelmäßig liam Tarr aus dem Jahr 1848. gebürtige Mainzerin das „Frankfurter Kontrabass beim Schleswig-Holstein Musikfestival, Aurora Heute ist Christine Hoock Professorin für Kontra- Quartett“, das weltweit Anerkennung erhielt. Chambermusic Festival, Luzern und San Sebastian bass an der Universität Mozarteum Salzburg. Am www.christinehoock.de Als vielseitige Virtuosin ist Christine Hoock in den Festival, Musik Triennale Köln, Oficina de Musica China Conservatory Beijing wurde ihr 2014 eine unterschiedlichsten Konstellationen aus Klassik, Curitiba und bei den Berliner und Salzburger Fest- Gastprofessur verliehen. World, Jazz und elektronischer Musik zu hören. spielen. CHRISTINE HOOCK “Everyone decides intuitively on the instrument from classical, world music to jazz and electronic For many years she was solo double bass player She is head of the International Johann Matthias whose pitch and sound colour make one’s inner compositions. Her artistic partners include Benja- in the West German Radio Symphony Orchestra Sperger Society for Double Bass and is artistic di- string vibrate…” min Schmid, Maxim Rysanov, Alessandro Taverna, of Cologne and also played with other leading rector of the International Rhodius Academy for Quadro Nuevo and John Goldsby. German orchestras under conductors such as Double Bass at Schloss Namedy. As a double bass player performing as a soloist Semyon Bychkov, Gary Bertini, Pinchas Zukerman, and chamber musician Christine Hoock enthrals Christine travels around the world to give con- André Previn, Rudolf Barschai and others. Christine plays an English instrument dating from audiences at home and abroad. Born in Mainz, certs and hold master-classes. She appears regu- 1848 made by William Tarr. she founded the Frankfurt Double Bass Quartet larly at the Schleswig-Holstein Music Festival, at Christine Hoock is now professor of double bass during her studies in Frankfurt and Geneva with the Aurora Chamber Music Festival, in Lucerne at the Mozarteum University in Salzburg. She was www.christinehoock.de Günter Klaus and Franco Petracchi, and received and San Sebastian, at the Musik Triennale Co- awarded a guest professorship at the China Con- international acclaim. logne, the Oficina de Musica Curitiba, at the Berlin servatory in Beijing in 2014. As a versatile virtuoso player Christine Hoock Festival and the Salzburg Festival. can be heard in a great variety of constellations 2 2 3 3 KOMPONISTEN als Solist aufzutreten und erfreute dabei das Publi- schrieb Bruch für Robert Hausmann, für den auch kum mit rasanten Tanznummern wie seiner spring- Brahms einige Werke verfasste. Mitunter begegnet Der in Crema in der Lombardei als Sohn eines kom- Musiker. Er schrieb seinerzeit erfolgreiche Opern lebendigen Tarantella. Eine besondere Perle ist man noch der „Schottischen Phantasie“ für Violine ponierenden Klarinettisten geborene Giovanni („Ali Baba“), ein schönes Requiem und gründete in Bottesinis brillantes „Grand Duo Concertante“, das und Orchester, aber die vier Opern, die Oratorien, Bottesini verdankt seinen Ruhm wohl zu einem Florenz eine Gesellschaft für die Pflege der deut- ursprünglich für zwei Bässe bestimmt war und von die drei Symphonien, weitere Violinkonzerte, die Gutteil der Tatsache, dass er als einer der wahren schen Kammermusik. Als Dirigent von Weltklasse Ernesto Camillo Sivori, Paganinis einzigem Schüler, vielfältige Kammer- und Chormusik Bruchs gerie- Pioniere seines Instruments dieses dem obligaten leitete er die Uraufführung von Verdis „Aida“ 1871 für Geige und Bass adaptiert wurde. Wie in einer ten schon zu Lebzeiten des hochgeachteten Kom- unterstützenden Schatten-Dasein entriss und als in Kairo. Zuletzt war er, auf Empfehlung Verdis, Opernszene für zwei Primadonnen wechseln ein- positionslehrers ins Hintertreffen. „Kol Nidrei“ (Alle gefeierter Virtuose, verehrt als „Paganini des Kont- Direktor des traditionsreichen Konservatoriums in ander lyrische Kantilenen und überschäumendes, Gelübde), eine Phantasie über das jüdische Gebet rabasses“, die Welt bereiste. Ein Kritiker schrieb: „Er Parma. Die sinnesfrohe Musik Bottesinis mit dank- südliches Temperament effektvoll ab. am Vorabend des Feiertags Jom Kippur (wörtlich verwirrt uns, indem er alle Arten von Melodien in baren Solo-Aufgaben ist der Entdeckung wert. „Tag der Lose“, Fest der Versöhnung), ist laut Bruch flötengleichen Tönen spielt, als ob er eine Hundert- Bottesinis Elegia Nr. 1 ist eine typische „Bass-Aria“ Der Kölner Max Bruch ist als Komponist zwei- ein Stück, welches „einen gegebenen melodischen schaft Nachtigallen in seinem Bass gefangen hiel- von trauerndem Charakter, die am Instrument er Stücke populär geblieben. Sein Violinkonzert Stoff in künstlerischer Weise verarbeitet“. Dem te.“ Bottesini, ein temperamentvoller und freund- gleichsam „gesungen“ werden muss. Der Maestro in g-Moll gehört zu den Preziosen der Romantik. ersten Teil liegt der traditionelle Bußgesang des licher Mann, war ein vielseitiger, umfassender pflegte vor oder nach seinen Operndirigaten gerne Das Konzertstück „Kol Nidrei“, original für Cello, Festes zugrunde. Darauf folgt eine Variation über COMPOSERS his vivacious Tarantella. Bottesini’s brilliant Grand posed some works. Occasionally Bruch’s Scottish Duo Concertante is a special jewel, intended Fantasy for violin and orchestra can also be heard, Giovanni Bottesini, born in Crema in Lombardy as a beautiful requiem, and in Florence founded origin ally for two double basses; it was adapted but the oratorios, three symphonies, more violin as the son of a clarinettist and composer, owes a society to foster German chamber music. As by Ernesto Camillo Sivori, Paganini’s only student, concertos, his varied chamber and choral music his fame mostly to the fact that he was one of a conductor of world renown he conducted the for violin and double bass. It is rather like an opera were neglected already during the lifetime of the true pioneers of his instrument; he brought first performance of Verdi’sAida in 1871 in Cairo. scene in which two prima donnas rival each other the highly regarded teacher of composition. Kol it into the limelight and travelled the world as a And at Verdi’s recommendation he was ap pointed with their lyrical and effervescent cantilenas full Nidrei (All Vows), a fantasy on the Jewish prayer cele brated virtuoso, and was revered as the ‘Paga- director of the conservatory in Parma with its of Mediterranean temperament. on the evening before Jom Kippur (the Day of nini of the Double Bass’. One critic wrote, “He con- rich tradition. Bottesini’s cheerful music with Atonement), is, according
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