Podcasts about rabbath

Comparing Rabbath, Simandl, and Suzuki Methods for Double BassWhen learning the double bass, choosing the right method can shape a musician's technique, interpretation, and overall approach to the instrument. Three of the most influential double bass pedagogical methods—François Rabbath, Franz Simandl, and Shinichi Suzuki—offer distinct philosophies, each with its strengths and limitations.Simandl Method: The Traditional FoundationFranz Simandl's New Method for the Double Bass (published in 1874) remains a cornerstone of classical double bass pedagogy. Rooted in the Viennese school of playing, it emphasizes strict positional playing, a systematic approach to shifting, and progressive technical development.Strengths:Structured Learning: Simandl's method divides the fingerboard into positions, with most of the left-hand technique built around half position and first position, progressively expanding.Orchestral Application: It prepares bassists well for classical and orchestral playing, focusing on intonation and bow control.Comprehensive Exercises: Etudes and exercises provide a solid technical foundation for developing consistent tone and precision.Limitations:Shifting Complexity: The heavy reliance on shifting (as opposed to pivoting or extended techniques) can make rapid passages feel cumbersome.Rigid Approach: Some bassists find Simandl's method too mechanical, limiting expression and modern techniques.The Simandl method is ideal for students who want a solid classical foundation, particularly those aiming for orchestral careers.Rabbath Method: A Revolutionary ApproachFrançois Rabbath, a Syrian-born French bassist, developed a modern approach to double bass playing, challenging many traditional techniques. His method, documented in Nouvelle Technique de la Contrebasse, promotes fluidity, efficiency, and musicality.Strengths:Fewer Positions, More Freedom: Instead of the rigid positional system of Simandl, Rabbath divides the fingerboard into six broad positions, relying on pivoting and natural hand shapes for smoother transitions.Expressive Playing: Encourages musical phrasing and a natural approach to technique, making it highly suitable for soloists and contemporary bassists.Ergonomic Efficiency: Advocates for economy of motion, reducing unnecessary tension and allowing faster, more agile playing.Thumb Position Mastery: Introduces thumb position early, which helps players navigate the upper register with ease.Limitations:Difficult to Adapt for Traditionalists: Bassists trained in Simandl may find Rabbath's method disorienting at first.Soloist-Oriented: While beneficial for expressive playing, some orchestral musicians feel it lacks the same rigor in foundational orchestral technique as Simandl.Rabbath's method is ideal for bassists seeking a freer, more modern approach, especially those interested in solo repertoire, jazz, and contemporary music.Suzuki Method: An Aural Approach for Early LearnersShinichi Suzuki's method, originally developed for violinists, has been adapted for double bass and emphasizes learning by ear, early musicality, and group learning. The Suzuki method introduces bassists to music through listening, imitation, and repetition, fostering strong fundamental technique from a young age.Strengths:Early Start: Suitable for very young learners, using simplified repertoire to build intonation, rhythm, and bowing technique.Emphasis on Ear Training: Develops intonation and phrasing naturally through listening and repetition.Group Learning: Encourages ensemble playing, making it highly engaging for young musicians.Limitations:Limited Repertoire for Advanced Players: While great for beginners, Suzuki's method lacks the depth of Simandl or Rabbath for professional-level development.Less Emphasis on Reading Music Initially: Since it focuses on aural learning, students might develop reading skills later compared to traditional methods.Suzuki is an excellent method for young beginners, offering a nurturing and ear-focused introduction to the double bass.Which Method is Best?The “best” method depends on the player's goals:For Orchestral Players: Simandl provides the most structured foundation.For Soloists and Contemporary Bassists: Rabbath offers fluidity and expressiveness.For Young Beginners: Suzuki nurtures musicality and ear training in an engaging way.Many modern bassists incorporate elements from all three—using Simandl for traditional technique, Rabbath for agility and expression, and Suzuki's principles for early training and musical development.No matter which method you choose, the key to mastering the double bass lies in dedicated practice, strong fundamentals, and musical expression.

Join Barry Green, Frank Proto, Debbie Taylor, and special guest Maggie Cox at their Bass Club Cincinnati live event honoring Francois Rabbath. This episode includes Zoom tributes from Gary Karr, Paul Ellison, Hal Robinson, Dennis Trembly, Patrick Neher, Johnny Hamil, and many more. This episode also includes live performances from: Renaud Garcia-Fons Sandor Ostlund Tracy Rowell Etienne Lafrance Nina DeCesare Hans Sturm Ted Botsford Nicholas Walker   Check out the entire livestream of this event on YouTube here.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor!   Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

God's sword, the king of Babylon was faced with a decision, which would he strike first, Rabbath of Ammon or Judah the city of Jerusalem? Also the king would remember the oaths as well as the people, and their sins would appear before all.

God's sword, the king of Babylon was faced with a decision, which would he strike first, Rabbath of Ammon or Judah the city of Jerusalem?

durée : 00:25:15 - François Rabbath, contrebassiste (1/5) - par : Laurent Valero - Interprète et compositeur éclectique, François Rabbath a créé une méthode d'apprentissage de la contrebasse qui a su élargir et renouveler le répertoire de la contrebasse moderne. Ces Grands Entretriens reviendront sur le parcours riche et atypique de ce musicien hors du commun. - réalisé par : Françoise Cordey

durée : 00:25:19 - François Rabbath, contrebassiste (2/5) - par : Laurent Valero - Interprète et compositeur éclectique, François Rabbath a créé une méthode d'apprentissage de la contrebasse qui a su élargir et renouveler le répertoire de la contrebasse moderne. Ces Grands Entretriens reviendront sur le parcours riche et atypique de ce musicien hors du commun. - réalisé par : Françoise Cordey

durée : 00:25:13 - François Rabbath, contrebassiste (3/5) - par : Laurent Valero - Interprète et compositeur éclectique, François Rabbath a créé une méthode d'apprentissage de la contrebasse qui a su élargir et renouveler le répertoire de la contrebasse moderne. Ces Grands Entretiens reviendront sur le parcours riche et atypique de ce musicien hors du commun. - réalisé par : Françoise Cordey

durée : 00:25:14 - François Rabbath, contrebassiste (4/5) - par : Laurent Valero - Interprète et compositeur éclectique, François Rabbath a créé une méthode d'apprentissage de la contrebasse qui a su élargir et renouveler le répertoire de la contrebasse moderne. Ces Grands Entretriens reviendront sur le parcours riche et atypique de ce musicien hors du commun. - réalisé par : Françoise Cordey

durée : 00:25:11 - François Rabbath, contrebassiste (5/5) - par : Laurent Valero - Interprète et compositeur éclectique, François Rabbath a créé une méthode d'apprentissage de la contrebasse qui a su élargir et renouveler le répertoire de la contrebasse moderne. Ces Grands Entretiens reviendront sur le parcours riche et atypique de ce musicien hors du commun. - réalisé par : Françoise Cordey

GUEST OVERVIEW: Cyril Rabbath is an artist, master uggler & inspirational Speaker. Since 1994, he has toured all over the world with the Cirque du Soleil and other shows. He has won a dozen International Circus Festival Awards. Cyril's one-man-show "Dancing with Gravity" combines storytelling and performance. His podcast of the same name explores in depth the life of a juggler. https://cyrilrabbath.com/  

“III. Historical and Geographical errors in the Bible A. River Gihon could not possibly flow from Mesopotamia and encompass Ethiopia (Gen 2:13) B. The name Babel does not come from the Hebrew word 'balbal' or 'confuse' but from the babylonian 'babili' or 'gate of God' which is a translation of the original Sumerian name Ka-dimirra. (Gen 11:9) C. Ur was not a Chaldean city until 1000 years after Abraham (Gen 11:28, 15:7) D. Abraham pursued enemies to 'Dan' (Gen 14:14). That name was not used geographically until after the conquest (Judge 18:29) E. Gen 36:31, telling of Jacob and Esau, lists kings of Edom "before there reigned any king over the children of Israel." This must have been written hundreds of years later, after Israel had kings. F. Joseph tells Pharaoh he comes from the "land of the Hebrews" (Gen 40:15). There was no such land until after the conquest under Joshua. G. The Egyptian princess names the baby she finds "Moses" because she "drew him out" of the water (Heb meshethi). Why would she make a pun in Hebrew (Ex 2:10)? H. No Egyptian record exists mentioning Moses or his devastation of Egypt. I. Moses refers to "Palestine" (Ex 15:14). No such name was in use then. J. Law of Moses is the "statutes of God and his laws" (Ex 18:26), but it closely mirrors the Code of Hammurabi, which was penned 1800 BC, hundreds of years before Moses. K. Priests are mentioned at Ex 19:22-24, but they are not provided for until Ex 28:1. L. Moses mentions Rabbath, where Og's bedstead is located (Deut3:11). Moses could not have any knowledge of Rabbath,which was not captured by the Hebrews until David's time,500 years later (2 Sam 12:26). M. Jericho and Ai (Josh 8) were both ancient ruins at the time of the conquest of Canaan, according to archaeologists. Jericho's walls were destroyed centuries before Joshua. N. Kings are referred to at Deut 17:17-19, before Israel had kings.” Link: https://www.news24.com/news24/the-problem-of-the-bible-inaccuracies-contradictions-fallacies-scientific-issues-and-more-20120517. I see that The Bible is strangely silent on aliens, UFO's, dinosaurs, the lack of evidence regarding reproductive procreation and sexual recreation between angels and humans, some words being translated in scriptures while other words are left to be untranslated. In my own words: "Scriptures have been subtracted from consistently to make humans the ventriloquist dummies of the fascists! The Bible has plenty of fiction and fabricated legends in it. The Bible is not totally divinely breathed, not totally divinely inspired, not totally accurate; and not totally reliable. I dislike mega churches, I dislike televangelism, I don't do virtual church, I don't do in-person church, I choose not to attend any houses of worship, I refrain from religious events, and I am unashamed of being unchurched, de-churched, and non-churched.” In the words of the Rev. Karla: "We never have never had a complete manuscript of The Bible. We had incomplete writings. Then over time, more writings were added. What does this mean? Text was added that was attributed to Jesus-and most likely Jesus didn't say that. Text was added that embellished what Jesus did-and most likely Jesus didn't do all that is attributed to him. This can be rattling for those of you who believed in the inerrancy and infallibility of the Bible. It doesn't mean that The Bible can't be inspiring-it can. But, when we embrace that throughout history, scriptures have been manipulated, added to, edited, and then-re-edited to protect those in power, we can understand why it's important to not take the Bible literally. People who weaponize scripture to justify their bigotry are clearly ignoring these data that scholars have known for years. We must release the Bible from this notion that it has the power and ability to guide our lives based on its infallibility. It's toxic, it's dangerous, and it's un-Christlike. Not everything labeled Christian originated with Jesus Christ." --- Send in a voice message: https://podcasters.spotify.com/pod/show/antonio-myers4/message Support this podcast: https://podcasters.spotify.com/pod/show/antonio-myers4/support

Today's episode is a musing on the value and/or frustration posed by the Simandl Method.  Enjoy! Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsor!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   theme music by Eric Hochberg

Barry Green is active as a bass soloist, recording artist, author and teacher. He has been directing bass camps and schools for over 44 years, and is founder and director of the Ohio State Bass Camp. Green has studied with the legendary bassist François Rabbath. Barry's most recent project includes a unique exercise program called Stringersize.

Barry Green is active as a bass soloist, recording artist, author and teacher. He has been directing bass camps and schools for over 44 years, and is founder and director of the Ohio State Bass Camp. Green has studied with the legendary bassist François Rabbath. Barry's most recent project includes a unique exercise program called Stringersize. Barry Green served as principal bassist of the Cincinnati Symphony for 28 years, the principal bassist of the California Symphony and Sun Valley Idaho Summer Symphony. As former executive director of the International Society of Bassists, he taught at the University of California–Santa Cruz for 22 years before moving back to Cincinnati in spring 2018. Green joined the Ohio State School of Music faculty in autumn 2018. The following year Green was named International touring artist to tour all the state capitals of Australia sponsored by the Australian String Teachers Association. In summer 2021, Green was awarded the Special Merit honor from the International Society of Bassists. In autumn 2021, Barry organized the Bass Club Cincinnati, sponsoring several clinics for bassists of all levels including an international public concert series. Green is currently teaching bass and his inspirational courses on the mind-body and spirit at The Ohio State University School of Music.The Bass Shed on IG / The Bass Shed on Twitter / View More Episodes

Barry Green is active as a bass soloist, recording artist, author and teacher. He has been directing bass camps and schools for over 44 years, and is founder and director of the Ohio State Bass Camp. Green has studied with the legendary bassist François Rabbath. Barry's most recent project includes a unique exercise program called Stringersize. Barry Green served as principal bassist of the Cincinnati Symphony for 28 years, the principal bassist of the California Symphony and Sun Valley Idaho Summer Symphony. As former executive director of the International Society of Bassists, he taught at the University of California–Santa Cruz for 22 years before moving back to Cincinnati in spring 2018. Green joined the Ohio State School of Music faculty in autumn 2018. The following year Green was named International touring artist to tour all the state capitals of Australia sponsored by the Australian String Teachers Association. In summer 2021, Green was awarded the Special Merit honor from the International Society of Bassists. In autumn 2021, Barry organized the Bass Club Cincinnati, sponsoring several clinics for bassists of all levels including an international public concert series. Green is currently teaching bass and his inspirational courses on the mind-body and spirit at The Ohio State University School of Music.The Bass Shed on IG / The Bass Shed on Twitter / View More Episodes

Husband and Wife cover pages 193-207 of Asimov's Guide to the Bible, in this episode of the Sacrilegious Book Club. Topics include Deuteronomy; Lebanon; Caphtor; Mount Hermon; Rabbath; Mount Gerizim; Belial; Saints; and The Blessings of Moses. We hope you'll get a copy of the book and read along with us. Next time we will discuss pages 208-217.Skip the ads by joining Acast+ https://plus.acast.com/s/6331d364470c7900137bb57dThank you for stopping by Sacrilegious Discourse - Bible Study for Atheists!Check out these links for more information about our podcast and merchandise:Our Homepage: https://sacrilegiousdiscourse.com/Help support us by subscribing on Patreon: https://www.patreon.com/sacrilegiousdiscourse Join Acast+ to enjoy our podcast adfree and get EARLY access to our episodes! https://plus.acast.com/s/sacrilegious-discourse-bible-study-for-atheists. Hosted on Acast. See acast.com/privacy for more information.

This episode features a recital that I recorded at the 2022 Rabbath Institute Los Angeles. Enjoy! Subscribe to the podcast to get these interviews delivered to you automatically! Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   theme music by Eric Hochberg

He was a self-taught musician from Syria who astonished the music world with his innovative technique on the double bass. With his new style, Francois Rabbath could play with ease what should have been impossible. UNL Professor of Double Bass and Jazz Studies Hans Sturm is the guest on this week's All About Books where he'll talk about his biography of Rabbath “75 Years on 4 Strings”

Then we turned, and went up the way to Bashan: and Og the king of Bashan came out against us, he and all his people, to battle at Edrei.2 And the Lord said unto me, Fear him not: for I will deliver him, and all his people, and his land, into thy hand; and thou shalt do unto him as thou didst unto Sihon king of the Amorites, which dwelt at Heshbon.3 So the Lord our God delivered into our hands Og also, the king of Bashan, and all his people: and we smote him until none was left to him remaining.4 And we took all his cities at that time, there was not a city which we took not from them, threescore cities, all the region of Argob, the kingdom of Og in Bashan.5 All these cities were fenced with high walls, gates, and bars; beside unwalled towns a great many.6 And we utterly destroyed them, as we did unto Sihon king of Heshbon, utterly destroying the men, women, and children, of every city.7 But all the cattle, and the spoil of the cities, we took for a prey to ourselves.8 And we took at that time out of the hand of the two kings of the Amorites the land that was on this side Jordan, from the river of Arnon unto mount Hermon;9 (Which Hermon the Sidonians call Sirion; and the Amorites call it Shenir;)10 All the cities of the plain, and all Gilead, and all Bashan, unto Salchah and Edrei, cities of the kingdom of Og in Bashan.11 For only Og king of Bashan remained of the remnant of giants; behold his bedstead was a bedstead of iron; is it not in Rabbath of the children of Ammon? nine cubits was the length thereof, and four cubits the breadth of it, after the cubit of a man.12 And this land, which we possessed at that time, from Aroer, which is by the river Arnon, and half mount Gilead, and the cities thereof, gave I unto the Reubenites and to the Gadites.13 And the rest of Gilead, and all Bashan, being the kingdom of Og, gave I unto the half tribe of Manasseh; all the region of Argob, with all Bashan, which was called the land of giants.14 Jair the son of Manasseh took all the country of Argob unto the coasts of Geshuri and Maachathi; and called them after his own name, Bashanhavothjair, unto this day.15 And I gave Gilead unto Machir.16 And unto the Reubenites and unto the Gadites I gave from Gilead even unto the river Arnon half the valley, and the border even unto the river Jabbok, which is the border of the children of Ammon;17 The plain also, and Jordan, and the coast thereof, from Chinnereth even unto the sea of the plain, even the salt sea, under Ashdothpisgah eastward.18 And I commanded you at that time, saying, The Lord your God hath given you this land to possess it: ye shall pass over armed before your brethren the children of Israel, all that are meet for the war.19 But your wives, and your little ones, and your cattle, (for I know that ye have much cattle,) shall abide in your cities which I have given you;20 Until the Lord have given rest unto your brethren, as well as unto you, and until they also possess the land which the Lord your God hath given them beyond Jordan: and then shall ye return every man unto his possession, which I have given you.21 And I commanded Joshua at that time, saying, Thine eyes have seen all that the Lord your God hath done unto these two kings: so shall the Lord do unto all the kingdoms whither thou passest.22 Ye shall not fear them: for the Lord your God he shall fight for you.23 And I besought the Lord at that time, saying,24 O Lord God, thou hast begun to shew thy servant thy greatness, and thy mighty hand: for what God is there in heaven or in earth, that can do according to thy works, and according to thy might?25 I pray thee, let me go over, and see the good land that is beyond Jordan, that goodly mountain, and Lebanon.26 But the Lord was wroth with me for your sakes, and would not hear me: and the Lord said unto me, Let it suffice thee; speak no more unto me of this matter.27 Get thee up into the top of Pisgah, and lift up thine eyes westward, and northward, and southward, and eastward, and behold it with thine eyes: for thou shalt not go over this Jordan.28 But charge Joshua, and encourage him, and strengthen him: for he shall go over before this people, and he shall cause them to inherit the land which thou shalt see.29 So we abode in the valley over against Bethpeor.

INTRODUCTION This psalm rotates around the hesed of God, coming back to it every other line. This word hesed can be translated any number of different ways—kindness, faithfulness, covenant loyalty, tender-mercies, and the like. The AV supplies the verb endureth every other line, but that is not in the original. The line literally is “for his hesed forever.” THE TEXT “O give thanks unto the Lord; for he is good: For his mercy endureth for ever. O give thanks unto the God of gods: For his mercy endureth for ever. O give thanks to the Lord of lords: For his mercy endureth for ever . . .” (Psalm 136:1–26). SUMMARY OF THE TEXT So we have in this psalm a litany of gratitude, and each of them is ascribed to the hesed of God. What we are going to see here then is how wide-ranging that beneficence of God actually is. The first is a summons to thank God for the goodness of God (v. 1). Give thanks to the God over all gods (v. 2). Give thanks to the Lord over all lords (v. 3). God alone is the God of wonders (v. 4). He created the heavens in His wisdom (v. 5), and He spread the earth out over the waters (v. 6). He made the great lights (v. 7), meaning the sun to rule by day (v. 8), and the moon and stars for the night (v. 9). God struck the firstborn of Egypt out of hesed (v. 10), and delivered Israel from Egypt in consequence (v. 11), with an outstretched arm as an act of strength (v. 12). He split the Red Sea in two (v. 13), making Israel to pass safely through (v. 14), but drowning Pharaoh and his army there (v. 15). He led Israel in the wilderness (v. 16). He struck great kings (v. 17). He slaughtered famous kings (v. 18). Sihon of the Amorites was done (v. 19), and Og, king of Bashan was another (v. 20). God took land away from them and gave to Israel for a heritage (v. 21), even a heritage for Israel his servant (v. 22). He remembered our low estate (v. 23), and redeems us from our enemies (v. 24). God feeds all the living (v. 25), and we conclude by thanking Him again, thanking the God of heaven (v. 26). THREE CATEGORIES OF HESED The first category of God's hesed is found in the fact that He is the Creator God, and this means that He is the God over all creation (vv. 1-9). The second category is revealed in God's political providence (vv. 10-24). And the last category is found in the fact that the God of Heaven is the God of ongoing providence—we live in a created order that feeds us (vv. 25-26). GOD TAKES SIDES The middle of this psalm makes it absolutely plain that God takes sides. His hesed, His mercy, is seen how He absolutely destroyed the Egyptians. He killed the firstborn of Egypt because of His hesed (v. 10), and He drowned Pharaoh and his army for the same reason (v. 15). God fed Israel from the sky during their time in the wilderness, but that wandering in the wilderness was bookended by two instances of national judgment. Egypt was that era's superpower, and when God's hesed toward Israel was done with them, they were little more than a smoking crater. Then on the other end of the forty years, God dispatched Sihon and Og both, and they were described as great and famous kings (vv. 17-18). God took their land away, and bestowed it on Israel for their own heritage. This was no injustice to them because it was not taken away from them because Israel needed it now. It was taken from them because their iniquity had finally ripened. What had God said to Abraham centuries before? “But in the fourth generation they shall come hither again: for the iniquity of the Amorites is not yet full” (Gen. 15:16). “For only Og king of Bashan remained of the remnant of giants; behold, his bedstead was a bedstead of iron; is it not in Rabbath of the children of Ammon? nine cubits was the length thereof, and four cubits the breadth of it, after the cubit of a man” (Deut. 3:11). “Rise ye up, take your journey, and pass over the river Arnon: behold, I have given into thine hand Sihon the Amorite, king of Heshbon, and his land: begin to possess it, and contend with him in battle” (Deut. 2:24). The conquest of Canaan was in large measure an exercise in giant-killing, with the final stages of that warfare being accomplished by David (1 Sam. 17:49) and his men (2 Sam. 21:19). But where did these giants come from? How did they make it past the Flood, which was God's judgment on the whole Nephilim project? The most reasonable answer appears to be that the DNA of giants was preserved on the ark through Ham's wife, the mother of all the Canaanites, and Canaan is where the giants all were. CREATION CORNERSTONE This psalm foregrounds the doctrine of creation, and the goodness of God as revealed in creation. All attempts at evolutionary explanations are attempts (at their best) to background it, to place it at a great distance from us. The more remote it is, the easier it is to take all these things for granted. One of the great blessings of believing in a young earth creation is that we are confronted with the goodness of God. He fashioned the heavens and the earth, and we can see His exquisite design in all that He has made. For example, when the moon covers the sun in an eclipse, it looks like someone stacking a couple of quarters—like a key fitting in a lock. We are taught in Romans that the two great impulses of the unbelieving heart are the impulse to deny God's sovereignty (Rom. 1:21), and to deny our responsibility to be thankful to Him (Rom. 1:21). The invitation issued in this psalm confronts both of these unbelieving impulses.

Esta semana tendremos una Atmósfera muy genuina, llena de sonidos intensos, profundos, que se encontrarán con otros totalmente diferentes más ligeros y bailables. Escucharemos las propuestas sonoras de Oh No Noh junto a Midori Hirano y Jo David Meyer Lysne, Julien Demoulin, Dullmea & Ricardo Pinto, Mad Disc, Movietone, Mannheimer Schlagwerk, Tülay German & François Rabbath, Pierre Rousseau y Kalyptra. Escuchar audio

This mini-episode digs into the Rabbath Institute Los Angeles, with a short interview from event founder Cielito De Jesus.  You can also check out this video featuring behind-the-scenes footage from this event.

A Roman theater and even part of a wall from David's time are some of the exciting archaeological finds uncovered here! God bless you! Thank you for listening! Please join us tomorrow and subscribe, share, and pray!

The Hump is excited to welcome our guest this week! Bassist, improviser and educator, Olivier Babaz! Tune in to find out why this episode is called, "In Flow!"

Today's program: ITW Season 5 Ep# 326: Psalms 51 & 32; 2 Samuel 12:24-31 - David's Psalms About Forgiveness, The Birth Of Solomon & The Taking Of Rabbath-Ammon. Join us today at www.IntoTheWord2020.com or via your favorite podcast platform.

The words of Amos, who was among the herdmen of Tekoa, which he saw concerning Israel in the days of Uzziah king of Judah, and in the days of Jeroboam the son of Joash king of Israel, two years before the earthquake. And he said, The MOSTHIGH YAH shall roar from Zion, and utter his voice from Jerusalem; and the pastures of the shepherds shall mourn, and the top of Carmel shall wither. Thus saith Yah : For three transgressions of Damascus, yea, for four, I will not turn away the punishment thereof; because they have threshed Gilead with threshing instruments of iron: but I will send a fire into the house of Hazael, and it shall devour the palaces of Ben-hadad. And I will break the bar of Damascus, and cut off the inhabitant from the valley of Aven, and him that holdeth the sceptre from the house of Eden: and the people of Syria shall go into captivity unto Kir, saith Yahuah Elohim . Thus saith the Mosthigh: For three transgressions of Gaza, yea, for four, I will not turn away the punishment thereof; because they carried away captive the whole people, to deliver them up to Edom: But I will send a fire on the wall of Gaza, and it shall devour the palaces thereof: And I will cut off the inhabitant from Ashdod, and him that holdeth the sceptre from Ashkelon; and I will turn mine hand against Ekron, and the remnant of the Philistines shall perish, saith the Mosthigh Yah Thus saith the Master : For three transgressions of Tyre, yea, for four, I will not turn away the punishment thereof; because they delivered up the whole people to Edom(Esau) , and remembered not the brotherly covenant: but I will send a fire on the wall of Tyre, and it shall devour the palaces thereof. Thus saith Yahuah : For three transgressions of Edom, yea, for four, I will not turn away the punishment thereof; because he did pursue his brother with the sword, and did cast off all pity, and his anger did tear perpetually, and he kept his wrath for ever: but I will send a fire upon Teman, and it shall devour the palaces of Bozrah. Thus saith the Mosthigh Yah: For three transgressions of the children of Ammon, yea, for four, I will not turn away the punishment thereof; because they have ripped up the women with child of Gilead, that they might enlarge their border: But I will kindle a fire in the wall of Rabbath and it shall devour the palaces thereof, with shouting in the day of battle, with a tempest in the day of the whirlwind: and their king shall go into captivity, he and his princes together, saith the Mosthigh . Amos 1:1‭-‬15 RV1895 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/batyah2Real/support

Rima was nominated as one of the top 100 most influential yoga teachers in America since 2016. She is an advanced Jivamukti yoga teacher and has taught and mentored teachers around the world in her career of teaching that has spanned over 15 years in New York City. Having been brought up in war-torn Beirut, it enables Rima to hold a truly loving space for her students across the world. She is also one of the founders of Yoga Souk in NYC and Beirut. In this episode we will talk about … - Applying the Bhavagad Gita, which is one of the most influential treatises in eastern philosophy and spiritual wisdom, to modern life. - The evolution of the three gunas in every person: tamas (inertia, ignorance), rajas (anger, ego) and saatva (harmony, purity). - The journey of one’s soul through renunciation, selfless service and meditation. - The purpose of war and conflict and how to overcome the trap of getting stuck in the drama and trauma of it. - The misconceptions of karma and how that keeps us stuck in a dualistic way of viewing the world. - How offering compassion to our enemies helps us and the world, and how to embrace our inner demons from a yogic and Buddhist perspective. Connect with Rima Rabbath https://soukstudio.com Instagram: soukofrima_ Spotify: soukofrima Connect with Johnson Chong Instagram: johnsonchong_sagesapien Website: https://johnsonchong.com/ Facebook Page: https://www.facebook.com/johnsonchongcoaching/ Facebook group: Truth Wisdom, Freedom for Conscious Leaders LinkedIn: https://www.linkedin.com/in/johnson-chong-9475b848/

Master double bassist talks about life in the musical fast lane.  --- Support this podcast: https://anchor.fm/jake-feinberg/support

Today we interview Liane Mathes Rabbath, an artist that has been living in Lebanon for over 30 years. The interview was recorded remotely during the Covid-19 Pandemic as she answered our questions from Beirut. Liane is very dear to us because she is the creator of theart piece we chose to visually represent our Unlimited vision on our website homepage and other social media platforms. We were looking for a piece full of warm colors, sophisticated, meaningful and somehow linked to our Brand name and concept, Unlimited. We found her piece ArtyBubble Circle online and we fell in love with Liane's artwork even beforeknowing who she was and where shecamefrom. Liane Mathes Rabbath becamewell known in the Lebanese and Europeanart scene for the use of local designed wrapping paper as a medium to create collages. She has been exhibiting in Lebanon, France, Switzerland, Italy, Luxembourg and Monaco and her Circle pieces have even reached the Saatchi Art Gallery.We are very happy to introduce you to her colorful, joyful and meaningful world.

Today we interview Liane Mathes Rabbath, an artist that has been living in Lebanon for over 30 years. The interview was recorded remotely during the Covid-19 Pandemic as she answered our questions from Beirut. Liane is very dear to us because she is the creator of the art piece we chose to visually represent our Unlimited vision on our website homepage and other social media platforms. We were looking for a piece full of warm colors, sophisticated, meaningful and somehow linked to our Brand name and concept, Unlimited. We found her piece ArtyBubble Circle online and we fell in love with Liane's artwork even before knowing who she was and where she came from. Liane Mathes Rabbath became well known in the Lebanese and European art scene for the use of local designed wrapping paper as a medium to create collages. She has been exhibiting in Lebanon, France, Switzerland, Italy, Luxembourg and Monaco and her Circle pieces have even reached the Saatchi Art Gallery. We are very happy to introduce you to her colorful, joyful and meaningful world.

"A SWORD" PT#1"SHOULD "YOU" CHOOSE TO ACCEPT THIS MISSION---YOUR ASSIGNMENT IS--EZEKIEL 21:20 APPOINT A WAY, THAT THE SWORD MAY COME TO RABBATH OF THE AMMONITES, AND TO JUDAH IN JERUSALEM THE DEFENCED. THIS PRESENTATION CONTINUES TO SHOW THE AWESOMENESS OF GOD IN CHRIST JESUS OUR LORD AND SAVIOUR.-- EZEKIEL 21:9 SON OF MAN. PROPHESY, AND SAY, THUS SAITH THE LORD; SAY, A SWORD, A SWORD IS SHARPENED, AND ALSO FURBISHED.--AND REMEMBER: HEBREWS 4:12 FOR THE WORD OF GOD IS QUICK, AND POWERFUL, AND SHARPER THAN ANY TWO-EDGE SWORD, PIERCING EVEN TO THE DIVIDING ASUNDER OF SOUL AND SPIRIT, AND OF THE JOINTS AND MARROW, AND IS A DISCERNER OF THE THOUGHTS AND THE INTENTS OF THE HEART. THE NEXT LEG OF THE MISSION IS TO DEFINE, EZEKIEL 21:21 FOR THE king OF BABYLON STOOD AT THE PARTING OF THE WAY, AT THE HEAD OF TWO WAYS, TO USE DIVINATION: HE MADE HIS ARROWS BRIGHT, HE CONSULTED WITH IMAGES, HE LOOKED IN THE LIVER----THIS IS A SERIES OF BIBLE STUDIES THAT IS AFTER GOD'S OWN HEART--BY WAY OF THE KING JAMES VERSION BIBLE----STAY TUNED---I WOULD SAY-- UNTO ALL MANKIND THERE IS HEALING IN THE WINGS OF GOD IN CHRIST JESUS OUR LORD--EXAMPLE: MALACHI 4:2 BUT UNTO YOU THAT FEAR THE LORD GOD'S NAME SHALL THE SUN OF RIGHTEOUSNESS ARISE WITH HEALING IN HIS WINGS; AND YE SHALL GO FORTH. AND GROW UP AS CALVES OF THE STALL. "PRAISE YE THE LORD GOD ALMIGHTY IN CHRIST JESUS OUR LORD"

From practicing in the parks of Paris, to juggling with gravity on the stage with Cirque Du Soleil, world renown juggler and performer Cyril Rabbath joins me on the show to talk pressure, time in the flow, and constructing the performance of a lifetime!

Hans Sturm and I go way back.  In fact, it was 25 years ago that I first heard him play at our mutual alma mater Northwestern University.  Since then, we’ve done a ton of things together: We shot an old-school video about the Rabbath technique in my old apartment in Chicagoland (note the cat participating in the background) Hans invited me to join the board of the International Society of Bassists (way back in 2006!) I’ve had him on the podcast several times to talk about various projects We’re back on the ISB board together again (2017 through now) Hans is back in as president-elect for the ISB.  We talk about his perspectives on ISB throughout the decades, where we’ve been, where we are now, and where we’re headed in the future.  Lots of good stories and takeaways from this one—enjoy! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.   Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. Steve Swan String Bass Steve Swan String Bass features the West Coast’s largest selection of double basses between Los Angeles and Canada.  Located in Burlingame, just south of San Francisco, their large retail showroom holds about 70 basses on display. Their new basses all feature professional setups and come with a cover at no additional cost. Used and consignment instruments receive any needed repairs and upgrades before getting a display position on the sales floor. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. The Bass Violin Shop The Bass Violin Shop offers the Southeast’s largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging Subscribe to the podcast to get these interviews delivered to you automatically!

Nina's work as a soloist is now sometimes found in a concert hall, but more likely in bars and cafes around Portland. Though she has trained classically for most of her life and currently plays full time with the Oregon Symphony, her solo repertoire is heavily influenced by bassists whose approach and compositions straddle the worlds of classical, bluegrass, Latin, and Middle Eastern music, including François Rabbath, Edgar Meyer, and Renaud Garcia-Fons. Her choice of venue is inspired by the renowned cellist Matt Haimovitz, who began playing in a variety of nightclubs and restaurants amidst a successful solo career, hoping to bring classical music to more unconventional audiences. Nina's sets combine a variety of styles and pieces, incorporating jazz standards and fiddle tunes amidst the more traditional Bach cello suites.

It was a pleasure to connect with Cielito de Jesus and chat about the vibrant double bass educational scene she has built in Southern California!  As the founder of the Rabbath Institute Los Angeles, Cielito has dedicated her career to teaching Vance-Rabbath pedagogy to middle and high school students throughout the Los Angeles area.  She works with over 60 bassists each week. Cielito has worked with many of the world’s great bass teachers, including past podcast guests François Rabbath, Patrick Neher, and Thierry Barbé.  She’s a great person and is doing wonderful things for the double bass community.  Be sure to check out the Rabbath Institute Los Angeles for more information about this great event! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.   A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Subscribe to the podcast to get these interviews delivered to you automatically!

Barcelona-born Alexis Cuadrado is one of New York's most sought-after musicians. In addition to performing as a sideman with Kurt Rosenwinkel, Mark Turner, Grammy Award winner Angélique Kidjo, Youssou N'Dour, Dianne Reeves, Omara Portuondo, Steve Wilson and Seamus Blake, Alexis maintains a thriving career as a composer and educator. I had the chance to see Alexis at the 2017 International Society of Bassists Convention, and it was great to catch up with him for this deep dive into his craft. This episode is divided into three parts: Part 1 - discovering François Rabbath starting to play upright in Barcelona and developing severe tendinitis trying to "start the house from the roof instead of the foundation” meeting Barry Green - the link to Francois the benefits of "starting from the beginning" with Rabbath Part 2 - the language of jazz improvisation composition approaches with students work habits Part 3 - 21st-century careers multiple income streams multiple skills sets how you present yourself to the world - what’s your outlook? moving to New York Links to check out: alexiscuadrado.com Alexis on Sunnyside records Alexis on Spotify Albums: Noneto Ibérico Poetica A Lorca Soundscape Nomadic Nature Puzzles Visual All About Jazz article on Alexis Recording session for Noneto Ibérico Alexis Cuadrado's 'A Lorca Soundscape': Live At 92Y Tribeca Alexis on The Third Story Check out all jazz-related episodes at contrabassconversations.com/jazz Contrabass Conversations is sponsored by: The Upton Bass String Instrument Company.  Upton's Bostonian was conceived at the 2009 International Society of Double Bassists convention at State College, Pennsylvania, while world-renowned jazz bassist and Professor of Jazz Studies at the University of North Texas, Lynn Seaton and Upton Bass String Instrument Co. President and Founder, Gary Upton Birkhamshaw were playing and discussing the various instruments Upton Bass had created for the convention. They started with a blank sheet of paper, and together began jotting down Lynn’s preferences and suggestion with each model. The result was a rough outline of what would become the UB Bostonian Concert Double Bass. A440 Violin Shop - An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Bass Violin Shop -  Offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

Marcos Machado is in the middle of launching his excellent and fascinating series Tao of Bass.  I saw this book pop up in my Facebook feed in the fall, and I got in touch with Marcos to do an interview about this project. We dig into topics like: how 20 years of scratching his head about bass technique led to this series why he settled on Tao of Bass for a title the wild mix of pedagogical styles that Marcos draws from how important supple technique is for sound how the 3rd finger is a secret weapon taking a non-dogmatic approach to bass technique ...and much more! Links to Check Out: Marcos' website Tao of Bass website Q&A blog on Tao of Bass Marcos demonstrates the pivot technique (YouTube) Marcos' Tao of Bass YouTube channel   More about Marcos: Marcos Machado is the only South American to have earned both the “Teaching” and “Performance” diplomas from the L’Institut International de Contrebasse de Paris where he has studied with renowned double bassist François Rabbath. While in Brazil, Machado began his double bass studies with Uruguayan professor Milton Romay Masciadri (1931-2009), the former principal bass of the Porto Alegre Symphony Orchestra. Machado later moved to the USA and earned his BM and MM degrees at the University of Georgia, where he was a student of Dr. Milton Walter Masciadri. Marcos holds a Doctor of Musical Arts degree from the University of Illinois at Urbana-Champaign where he studied with Professor Michael Cameron. Thanks to our sponsors! This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Enter our latest string giveaway for Helicore strings at contrabassconversations.com/strings! Hosting for Contrabass Conversations is provided by Bass Capos.  Bass Capos are an excellent choice for any bass player using or looking to implement a double bass extension. Easy to install and adjust, cheaper and more reliable than hand-built latches, also lighter and quicker in operation.

I first met Patrick Neher when I was an 18-year-old student at Northwestern University, and I've followed along with his career ever since.   Honestly, I can't believe that it has taken me this long to interview him for the podcast! After teaching at the University of Arizona for 28 years, Patrick has relocated to Bellingham, Washington.  He is immersed in composing new works... including two new double bass concertos! We dig into all kinds of things: growing up in New Mexico attending Juilliard and studying with David Walter (be ready for a funny story about this!) taking his bass on the subway and surviving blackouts in New York City meeting François Rabbath and switching rom a block technique to an open hand technique how the right hand is core to Rabbath’s approach Patrick's “natural tempo, natural forms” approach We also feature several excerpts from Patrick's wonderful solo albums.  It was a pleasure to spend some time with this active artist who has contributed so much to the double bass! Links to check out: Patrick's website Patrick demonstrating "natural forms" approach (YouTube) Patrick discussing pivoting (YouTube) Recordings from Patrick: Ensemble Soliloquy Music 4 Friends Music for Friends, Two! Thanks to our sponsors! This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Enter our latest string giveaway for Helicore strings at contrabassconversations.com/strings! Hosting for Contrabass Conversations is provided by Bass Capos.  Bass Capos are an excellent choice for any bass player using or looking to implement a double bass extension. Easy to install and adjust, cheaper and more reliable than hand-built latches, also lighter and quicker in operation.  

Today's episode features Ted Botsford.  Ted is currently a bassist in the Seattle Symphony and just won a position in the Los Angeles Philharmonic.  Ted played in the Oregon Symphony prior to joining the Seattle Symphony. Ted studied with George Vance while growing up in the Washington, D.C. area and continued his studies with Paul Ellison in college. We talk about all sorts of topics, including: taking an audition when you’re already holding down a full-time job and how that’s a different approach the when you’re a student struggling in auditions and a book recommendation from Paul Ellison that helped attending BUTI, studying with Rick Barber, and participating in the National Symphony Youth Fellowship program while in high school developing the bow from the beginning, starting with really good habits so you don’t have to do remedial teaching later what Ted does to keep himself in shape and how he varies his warm-ups to keep things fresh working with Chris Hanulik in LA prior to winning the Oregon audiiton and the impact it had on his playing Links to check out: Performing in the Zone by Jon Gorrie - book recommendation from Paul Ellison other books Ted found helpful: Inner Game of Tennis and Inner Game of Music Ted Botsford on All Classical On-Air (in Portland) Rhapsody by Rabbath - performed by Ted Subscribe to the podcast to get these interviews delivered to your inbox! Learn how you can support the show at contrabassconversations.com/support Thanks to our sponsors! This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Enter our latest string giveaway for Helicore strings at contrabassconversations.com/strings! Hosting for Contrabass Conversations is provided by Bass Capos.  Bass Capos are an excellent choice for any bass player using or looking to implement a double bass extension. Easy to install and adjust, cheaper and more reliable than hand-built latches, also lighter and quicker in operation.

When I got the podcast going again in 2015, I knew that I wanted to do "round two" interviews with past guests. Los Angeles Philharmonic bassist and USC Thornton School of Music professor David Allen Moore was at the top of my list. I had David on the show back in 2009, which has been one of the most popular interviews from the first-generation podcast episodes (nearly 14,000 downloads at the moment). A lot has changed for David since we last spoke: He took a sabbatical and, after analyzing Edgar Meyer's technique, developed the concept of fractal fingerings. He wrote a book on Fractal Fingerings. He became an ultra-marathon runner. Several of my former students have studied with David over the years.  When I asked them who had the biggest impact on them as a musician and as a person, David was the first person they mentioned. I headed down to Los Angeles and we met up at his USC studio. Here's a shot of us along with bassists Fernando de la Fuente and Dan Carson (another former student of mine!). We dig into all kinds of topics, including: building an internal map how bass pedagogy is still catching up to reality analyzing Edgar Meyer's bass playing the concept of framing Rabbath's approach and the German bow how practicing is a creative process how running changed David's approach to various aspects of life fractal fingering peak performance raising your floor as well as your ceiling reveling in your successes ...and much more! Links to check out: David's previous podcast appearance Videos on Musaic (New World Symphony's great service) Bowing exercises for clear sound and articulation Building a technical and musical foundation Learning a new piece of music Organizing practice habits and learning how to learn Domaine Forget (David teaches there in the summer) David's LA Phil page David's USC page Subscribe to the podcast to get these interviews delivered to your inbox! Learn how you can support the show at contrabassconversations.com/support Thanks to our sponsor! This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Enter the D’Addario strings giveaway for Contrabass Conversations listeners at contrabassconversations.com/strings!

It was such a pleasure to catch up with Petia Bagovska in Prague for BASS2016!  I've known her for years.  We used to play in some orchestras together when we were both living in Chicago.   When we both realized that we would be in Prague together for the European Bass Congress, we agreed to find a few minutes to catch up and record an interview. Let's set the scene... We're sitting in the courtyard of the HAMU in Prague on a beautiful October afternoon. It's the most perfect weather imaginable. Everyone is outside having a coffee or a beer and a snack, chatting, laughing, trying out basses, and enjoying the experience of being united together as bassists in one of the world’s great cities! Not a bad way to spend an afternoon! We talk about: life as a professional bassist in Bulgaria Petia's experiences studying in Sofia orchestra life in Bulgaria Petia's book Double bass: Traditions and future Links to check out: D’Addario strings giveaway! Petia’s Facebook page Petia performing Czardas (YouTube)   Subscribe to the podcast to get these interviews delivered to your inbox!  Learn how you can support the show at contrabassconversations.com/support  Listener feedback and news links: book launch landed Winning the Audition at #1 on Amazon! new ways to support the show - contrabassconversations.com/support find the podcast on all social media networks: itunes, facebook, twitter, snapchat, instagram, pinterest, linkedin, youtube feedback from Matt Gold about My Car Caught Fire and Exploded feedback from Jerry Ramos about Gary Karr and Rabbath interviews Thanks to our sponsor! This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Enter the D’Addario strings giveaway for Contrabass Conversations listeners at contrabassconversations.com/strings!

Johnny Hamil has dedicated his life to teaching bass. Starting out as a music education student, Johnny met George Vance at an International Society of Bassists Convention, and his life has never been the same since. After years of prodding from George, Johnny started the Kansas City Bass Workshop.  This event has grown into one of the most vibrant double bass events in the country. But Johnny's not worried that others are going to take students away from him by starting their own events.   In fact, he's convinced that every city should have their own bass event.  And after listening to this conversation, I'll bet you'll agree! Johnny’s book Jamming On The Bass is an improvisational accompaniment to Vance’s Progressive Repertoire series.  Check it out!  It'll add some great variety to your teaching.   Here's a video describing Johnny's teaching philosophy.  This will give you some background on why Johnny was inspired to write his book. Learn more about the materials Johnny uses and what hundreds of other leaders in the double bass field use at contrabassconversations.com/teaching. More links to check out: Feature on Johnny and the KC Bass Camp from KCUR Johnny Hamil Bass Studio (FB page) Rabbath - Bass Ball (vinyl!) Be sure to subscribe to Contrabass Conversations to get these episodes delivered automatically to your mobile device! Thanks to our sponsor! This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Enter the D’Addario strings giveaway for Contrabass Conversations listeners at contrabassconversations.com/strings!

Our teachers shape us more than we realize. Having the right teacher is critical for achieving our goals. Sandor Ostlund has had a staggering set of quality teachers throughout his life journey. First, he studied with Hans Sturm. Then he worked with Richard Davis. From there, he found his way to Paris to study with François Rabbath. In Paris, he met Paul Ellison, with whom Sandor would study with for his DMA. In fact, Sandor was the first student to every receive his DMA with Paul at Rice University. Talk about a great set of musical role models! Sandor has gone on to have a major impact in the world of the double bass. He teaches bass at Baylor University, works as a clinician across the United States, and has released a fantastic solo album of new works for the double bass. We dig into all kinds of topics: how Sandor continues to find inspiration lessons Sandor learned from Paul, François, Richard, and Hans what to do if you only have an hour to practice finding your path in the music world …and much more! Links: Sandor’s website Leap of Faith (album) This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Enter the D’Addario strings giveaway for Contrabass Conversations listeners at contrabassconversations.com/strings!

Jazz is Frank Proto's native language. Growing up in Brooklyn, Frank spent his days studying with Fred Zimmermann and his nights hanging out at Birdland. I love hearing Frank describe what it was like studying with Fred. In fact, Frank's lesson slot was right after Charles Mingus. Talk about being a part of jazz history! Frank's journey from the jazz clubs of New York City to the Cincinnati Symphony is remarkable...and that's putting it mildly! Here are just a few of his many career highlights: Bassist and composer-in-residence for the Cincinnati Symphony Orchestra Over 20 large-scale works premiered by CSO Countless shorter works and arrangements premiered by CSO Over 400 performances of Carmen Fantasy for Trumpet and Orchestra Over 500 performances of Casey at the Bat Composed music for Dave Brubeck, Eddie Daniels, Duke Ellington, Cleo Laine, Benjamin Luxon, Sherill Milnes, Gerry Mulligan, Roberta Peters, François Rabbath, Ruggerio Ricci, Doc Severinsen, Richard Stoltzman and Lucero Tena I could go on and on. Frank has impacted the world of the double bass immensely. But he has gone way beyond that. Best of all, he hasn't slowed down. In fact, he is continuing to explore new ideas and unexpected collaborations. I can't wait to see what he does next. Links to check out: Frank Proto on Wikipedia Liben Music (Frank’s publishing company) Brandeis Jazz Festival - Fred Zimmermann, Charles Mingus, Gunther Schuller, George Russell Brandeis Jazz Festival (YouTube) All About Rosie (YouTube) Harry Lookofsky: Stringsville ‘Round Midnight - Harry Lakoofsky performance (YouTube) Music featured in this episode (all written by Frank) Sonata No. 2 - with Catalin Rotaru Sonata No. 3 - with Szymon Marciniak Sketches of Gershwin - with Eddie Daniels String Quartet No. 1 Duo for Viola and Double Bass My Name is Citizen Soldier Variations on Dixie Ghost in Machine Thanks to our sponsor! This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Enter the D’Addario strings giveaway for Contrabass Conversations listeners at contrabassconversations.com/strings!

Nina DeCesare's creative musical quest is inspiring. First, she won the 14 and under International Society of Bassists solo competition. Then she won it again for the 15-18 division. She studied at Rice University, Tanglewood, and Domaine Forget. Also, she won a scholarship to study with François Rabbath in Paris. Nina ended her time at Rice by winning a position with the Oregon Symphony. She has done more in her brief career than many do in their entire life. But it hasn't always been easy for her. In fact, she went through a serious playing injury during her time at Rice University. Her bass playing ground to a halt for months. But through careful analysis, she changed her approach to the bass. She problem-solved her way out of the injury and changed her approach to the bass in the process. We talk about what it was like studying with George Vance and Paul Ellison, playing in Portland bars, thoughts on training as a soloist versus as an orchestra player, and much more! Links to check out: Nina’s Website Nina’s YouTube Channel How an Injury Saved my Playing (blog post by Nina) Too many young double bassists prioritise solo technique over orchestral expertise (by Chi-Chi Nwanoku - from The Strad)

Hans Sturm isn’t afraid to reinvent himself. Everything changed for Hans when he first met François Rabbath. Before he knew it, he was in Paris soaking up these new concepts. Fast forward many years, and we find Hans playing the second Rabbath Concerto with Sylvan Rabbath on piano. If you look at the music for this concerto, you’ll see that François dedicated this piece to Hans. But that’s not it. Hans also realized that not everybody could hop on a flight to Paris to study with François. So he began to think... How could he get these teachings to a wider audience? What could he to do take these concepts beyond the printed page? Here’s the answer: Art of the Bow Art of the Left Hand Hans has reinvented himself in many ways throughout his career. He shaped the digital plan for the International Society of Bassists during his time as president. He explored creative uses of DVD technology in the Art of the Bow and Art of the Left Hand. He even left the stability of a tenured position for new adventures in a different part of the country. Through these journeys, he has brought tremendous value to the bass community. His commitment to education and to furthering his own education throughout these chapters of his life. Learn more about his time working with Richard Davis, Jeff Bradetich, and François Rabbath, practice techniques, and the genesis of this most recent album A Day in Paris! Links to check out: Hans’ website A Day in Paris (new album) Art of the Bow Art of the Left Hand Our Rabbath Technique video series (you’ll love the cats in the background)

Today’s episode features Lloyd Goldstein, who has transitioned from playing in the Florida Orchestra to his current role working as a certified music practitioner at the Moffitt Cancer Center in Tampa.  It’s so exciting to speak with someone who has continued to evolve so dramatically in his craft and career throughout his life.  Lloyd’s path is unconventional and inspirational.   We get into all sorts details about Lloyd’s life like his “burning bush” moment that propelled him into a career on the bass, his circuitous path to the Florida Orchestra, discovering François Rabbath, the multiple benefits he has experienced from his practice of yoga, and how he came to find himself in his current role as a certified music practitioner.   Links: Lloyd’s website PBS program featuring Lloyd’s work at Moffitt Music for Healing and Transition Program Albums and book Interview Highlights Early Years bass first musical instrument no bass lessons outside of 1/2 hour weekly public school lessons graduated high school early, started college at 16 decided at 20 that he wanted to study bass had a “burning bush” moment propelling him to the bass during a table saw injury began to study bass through several Florida schools, eventually began to study with Lucas Drew practicing 5+ hours a day got a job in the Florida Gulf Coast Orchestra, eventually became the Florida Orchestra stayed there for 21 years Discovering François Rabbath 10 years into his time at the Florida Orchestra, Lloyd felt like he had hit a wall in his bass playing went to George Vance workshop in Washington D.C. area where Rabbath was teaching that was “the” moment for him started making yearly trips to Paris to study with François would practice all day and walk around Paris at night learning the "first bow stroke” - the son premier on which all other bow strokes are based the forearm is the conductor and the wrist and fingers are relatively passive François says that we never unlearn anything - you don’t get rid of bad habits - you add new skills The Power of Practicing Yoga - 700 pieces of writing emanated from Lloyd’s first two years of practicing yoga and 400 drawings - eventually compiled into Lloyd’s book Inside Yoga Finding balance between organized practice goals and “obsessing” on something Working in a hospital environment Lloyd had started to compose simple melodies from which pieces emerged through yoga practice, kept getting this inner self message to do volunteer work began to volunteer at Moffitt Cancer Center learned about certified music practitioners through contact at Moffitt became certified and began to work in the Moffitt Arts In Medicine program took a year’s leave from the Florida Orchestra to try out this new career and loved it got hired as an artist-in-residence at Moffitt 8 years ago performing versus giving a gift of music details about the experience of performing in this setting the idea of entrainment and meeting patients where they are entrainment has two aspects to it: physical psychological/emotional

Today's episode features Ithaca College professor and International Society of Bassists president Nicholas Walker.  In addition to teaching at Ithaca College, Nicholas performs between 170 and 180 concerts a years in a wide variety of musical genres, he is a prolific composer, and he has taught for many years along with Paul Ellison and François Rabbath at Domaine Forget in Quebec.  Nicholas will be hosting the 2017 ISB Convention at Ithaca College next June 5-10. We talk about his early musical influences, his experiences working with Paul Ellison and François Rabbath, balancing performing with other activities, and the Ithaca double bass experience.  We also go into great detail about a day in the life of a student at Domain Forget, which is a topic that we talked about with David Allen Moore back on episode 162 of the podcast. We also feature several musical excerpts from Nicholas, starting with excerpt of a tune with singer songwriter Tenzin Chopak called "Just Don't Go.”  We’ll also play a few excerpts of some of Nicholas’ solo bass compositions, and you can find complete recordings on his YouTube channel.  Enjoy! Musical Excerpts: "Just Don’t Go" with singer songwriter Tenzin Chopak Chorale - solo bass Watermark - with cellist Elizabeth Simkin Interview Highlights Background and Early Years started on piano, picked up bass in 4th grade, playing jazz early on and music with friends in addition to the public school started taking lessons with Duane Rosengard, who was a student at Eastman at the time played in the Rochester Philharmonic Youth Orchestra studying with Mark Foley with many of the people surrounding Nicholas, there wasn’t a big distinction between jazz and classical playing - it was all part of musical life for him Working with Paul Ellison moving to Houston and meeting Paul Ellison Paul’s teaching style the Domaine Forget double bass experience Buddhist philosophy - any student who shows up has earned the right to learn Paul’s comfort moving from student to teacher role Working with François Rabbath the right time to hear something from a teacher how, exactly, can he help each particular person  his first experience meeting François A Day in the Life at Domaine Forget put the bass players in a barn and let them work get up early 8:30 am - all meet together - 25 students plus the two teachers bodywork and 90 minute workout together Stretching Yoga Feldenkrais Method Alexander Technique Pilates bass workout together - all done by ear and by rote - no music stands - working together in a big circle shifting exercises bowing exercises specific left hand techniques hand frames drop thumb expansion pivoting hammer on / pull off fingering patterns etudes at the end of the two weeks, they have a 90 minute routine that they do together without stopping - one exercise after another all this material comes from meeting with all the students the first night and asking them their goals for the camp 10 am - break followed by two hours of lessons lunch 1:30 pm - back in the barn for another 90 minute class with the senior faculty member Paul does a lot of stroke work and body awareness opportunity to introduce concepts like balance, arm weight, anything that came up in prior master classes everything from the simplest open string playing to more complex bow bouncing, forward/reverse curve 3:00 pm - master class evening - concerts with notable visiting artists, bass recital, public master classes The Double Bass Program at Ithaca largely modeled on the way Domaine Forget operates one of the nation’s oldest conservatories - Sevcik and Rachmaninoff were both on faculty group classes for technique, orchestra rep, studio class in addition to lessons alternative lesson approaches in addition to traditional one-on-one lessons Performing, Teaching, and Composing finding balance (or not finding balance) being at peace with the choices you make 170-180 concerts a year the concerts and individual practice are where the "important stuff" happens

It is our pleasure to bring you this interview with Paul Ellison. Paul is chair of strings and professor of double bass at Rice University, where he has taught for the past four decades. He is the former principal bass of the Houston Symphony, former president of the International Society of Bassists, and has had a significant impact on the double bass world.  In this interview, we discuss Paul’s early background, his encounters with François Rabbath, being a musical athlete on the bass, gut strings and the adoption of steel strings, the undergraduate experience at Rice University, and many other topics.  Enjoy! About Paul: Performing solo and ensemble concerts as well as giving master classes on the double bass and period instruments on four continents, Paul Ellison is the Lynette S. Autrey Professor of Double Bass and chair of strings at Rice University’s Shepherd School of Music, Visiting Artist-Faculty University of Southern California and guest tutor at the Yehudi Menuhin School, the Royal College of Music, and Bass Club, England. Current summer positions include principal bass at the Grand Teton Music Festival, faculty/performer at the Sarasota Music Festival and faculty/performer at Festival Domaine Forget, Quebec. Former students hold titled positions in major ensembles and institutions of higher learning on five continents. Previous positions include principal bass of Houston Symphony, Houston Grand Opera, Santa Fe Opera, Aspen Festival Orchestras (also faculty), professor of double bass and chair of strings at the University of Southern California, and president of the International Society of Bassists. Ellison was the first to receive both the diploma and teaching certificate from Institut International Rabbath, Paris.

We’re featuring an interview from the podcast archives with Los Angeles Philharmonic bassist and University of Southern California bass instructor David Allen Moore on the podcast this week. David also teaches bass during the summer at the Domaine Forget program in Quebec. In this interview, we chat about his early years on the instrument, teachers that have influenced him, his time in the Houston Symphony and Los Angeles Philharmonic, challenges of learning repertoire for a professional orchestra, his studies with François Rabbath, German and French bow differences, and many other topics. After the interview, we feature a track of David playing the Bohemian Dance from Frank Proto’s Carmen Fantasy. Enjoy! David's Faculty Page of USC Website Domaine Forget Festival About David: DAVID ALLEN MOORE graduated Summa Cum Laude from the University of Southern California in 1993 where he studied with Dennis Trembly, Paul Ellison, and John Clayton. Moore continued his studies in Boston, working privately with BSO principal bass Edwin Barker while performing with Boston Baroque, the Rhode Island Philharmonic, Emmanuel Music, and the Boston Pops Esplanade orchestra. Moore performed as a substitute with the Los Angeles Philharmonic during the 1995/96 season, after which he was a member of the Houston Symphony bass section under maestro Christoph Eschenbach, from 1996 to 1999. In January of 2000 Moore became a full-time member of the Los Angeles Philharmonic’s bass section and was promoted to the 4th chair by audition in October of the same year. Moore has participated in numerous festivals including Tanglewood, the Grand Teton Music Festival, Mainly Mozart, the Portland Chamber Music Festival, and Kent/Blossom Summer Music Festival. He is an active recitalist and chamber musician, having performed in the Houston area with the Greenbriar Consortium, in Los Angeles with the Philharmonic’s New Music Group, and in San Diego with the Mainly Mozart Festival. He has been a featured clinician at the 2012 TCU International Double Bass Festival, the 2011 International Society of Bassists convention, the 1999 Texas Double Bass Symposium. From 2003-2009 Moore was a faculty member at the Colburn Conservatory in Los Angeles. Moore has been a faculty member of the University of Southern California’s Thornton School of Music since 2000, and since the Fall of 2010 he has been part of the full-time faculty as an Assistant Professor while maintaining his position in the Los Angeles Philharmonic. Since 2007 Moore has been a faculty member at Domaine Forget in Quebec, Canada. In November of 2007 he began studies with internationally renowned double bass pedagogue and soloist François Rabbath in Paris. Moore received both the Diploma and Teaching Certificate from the Institut International Rabbath in February of 2009. Moore has presented clinics and master classes at Juilliard, The Curtis Institute of Music, Northwestern University, and Rice University, among others. He has former students performing in major orchestras in The U.S., Canada, Australia, Europe, and Asia. The double bass that Moore performs on with the Philharmonic is an instrument by Nicolo Gagliano made in 1735.His solo bass is a modern instrument by French luthier Christian Laborie. Moore uses bows designed especially for him by Paris bowmaker Boris Fritsch that are a unique French/German hybrid and are designed to be played either overhand or underhand. T his interview originally aired on July 18, 2009 on CBC Episode 128.

Rima Rabbath was born and raised in Beirut, Lebanon, but eventually traveled to Paris to pursue an undergraduate education in economics and later finished graduate school at NYU. In 2001, while pursuing a fast-paced career in brand management, Rima Rabbath took her first yoga class at the Jivamukti Yoga School in New York City, which changed the course of her life. In May 2005, Rabbath entered the Jivamukti Yoga Teacher Training. Since then, she has been teaching five days a week at the Jivamukti Yoga School, leading Jivamukti Immersions, and is very active in the apprenticeship program.   See omnystudio.com/listener for privacy information.

TIMS 026 - ROBERT RABBATH by BLOOM RECORDS

In my musical selection I seek to create a variety of stimulations based on a recessive aspect. I think that everything is associated with what we experienced previously. Music has the ability to change our mood and emotionally connect with another emotional levels. Enjoy Robert Rabbath, Panama City, 2013.

Thanks to virtuoso performers like Gary Karr, François Rabbath and Edgar Meyer, the double bass is leaping to the front of the concert stage and composers are taking note. This week we'll listen to some of the music written in the last few decades for this sonorous and incredibly versatile instrument. Hosted by Seth Boustead Produced by Jesse McQuarter Adam Ben Ezra: Can't Stop Running (excerpt) Adam Ben Ezra, bass Frank Proto: Four Rogues, No. 1, Calm John Ebinger, bass; Roy Hakes, piano Dave Anderson: Duets II- Parade of the Pigs V- Lament Dave Anderson & Hal Robinson, double basses Gunther Schuller: Quartet for Double Basses, II Robert Gladstone, Frederick Zimmerman, Orin O'Brien & Alvin Brehm, basses Patrick Neher: Grig's Dance Patrick Neher, bass; Mark Rush, violin Tom Johnson: Failing: A Very Difficult Piece for String Bass Robert Black, bass & narrator George Pearle: Monody II Robert Black, bass Edgar Meyer: Concerto for Double Bass and Orchestra, I St. Paul Chamber Orchestra/Wolff; Meyer, bass Manuel Enriquez: Mobil II Bertram Turetzky, bass Thelonious Monk: Blue Monk (excerpt) Superbass (Ray Brown, John Clayton, Christian McBride, basses)

Also, thou son of man, appoint thee two ways, that the sword of the king of Babylon may come: both twain shall come forth out of one land.

We’re featuring an interview with Los Angeles Philharmonic bassistand University of Southern California bass instructor David Allen Moore on the podcast this week. David also teaches bass during the summer at the Domaine Forget program in Quebec. In this interview, we chat about his early years on the instrument, teachers that have influenced him, his time in the Houston Symphony and Los Angeles Philharmonic, challenges of learning repertoire for a professional orchestra, his studies with François Rabbath, German and French bow differences, and many other topics. After the interview, we feature a track of David playing the Bohemian Dance from Frank Proto’s Carmen Fantasy. Enjoy! About David: DAVID ALLEN MOORE, the newest member of the Los Angeles Philharmonic’s bass section, joined the orchestra in January 2000 and was appointed to the 4th chair in October 2000. He graduated in 1993 from the University of Southern California, where he studied with Dennis Trembly, Paul Ellison, and John Clayton. Moore continued his studies in Boston, working privately with BSO principal bass Edwin Barker. Moore performed as a substitute with the Los Angeles Philharmonic during the 1995/96 season, after which he was a member of the Houston Symphony bass section under maestro Christoph Eschenbach, from 1996 to 1999. Moore has participated in numerous festivals including Tanglewood, the Grand Teton Music Festival, Mainly Mozart, and Kent/Blossom Summer Music Festival. He is an active chamber musician, having performed in the Houston area with the Greenbriar Consortium, and in Los Angeles with the Philharmonic’s New Music Group. He was also a featured clinician at the 1999 Texas Double Bass Symposium. Moore currently is on the faculty of the University of Southern California.

We’re featuring something a bit unusual for this week’s Contrabass Conversations episode. Ball State University bass professor and International Society of Bassists president Hans Sturm has been featured several times on the podcast in video episodes, and this week we’re featuring Hans discussing the fundamentals of the Rabbath technique left hand positioning system.This dialogue was featured in some of our previous video episodes, but it was broken up into bite-sized chunks, so I think you’ll enjoy the opportunity to hear the entire segment uninterrupted!After the segment, we feature some bass news and listener feedback. Enjoy!  About Hans: Double bassist Hans Sturm has performed as soloist, chamber, orchestral, jazz and improvisational musician throughout Europe, Asia, South America, Africa and the United States. Sturm received his doctorate from Northwestern University and is currently a Professor and Chair of the String Department at Ball State University.Sturm has appeared with a variety of artists across the spectrum of jazz music including Eddie Daniels, Phil Woods, Randy Brecker, Dick Hyman, Roscoe Mitchell, Joseph Jarman, Eddie Higgins, David Baker, Stanley Jordan, Peter Erskine, Joe LaBarbera, Alan Dawson, Bela Fleck, Howard Levy and many others. A frequent performer of chamber music, Sturm has toured with ‘Fireflight’ (soprano, Japanese koto and bass koto, double bass, and percussion) and ‘Trinkle, Burkett, and Sturm’ (trumpet, marimba and double bass) for more than fifteen years. He has worked in the electronic medium with composers such as Cleveland Scott and Joan Wildman. As an orchestral bassist, he has served as principal bassist of numerous regional orchestras including the Muncie Symphony, Quad Cities Symphony, Wisconsin Chamber Orchestra, Madison Symphony, Dubuque Symphony, Dorian Opera, Rockford Symphony, and Racine Symphony and toured Europe as a member of the American Sinfonietta Chamber Orchestra.Recently Hans Sturm has appeared at the Beijing Music Festival; the Association of Brazilian Contrabassists International Conventions in Goiania and Pirenopolus, Brazil; the Scottish Bass Trust’s International Convention and the Fringe Festival in Edinburgh Scotland; the College Music Society International Conference in Kyoto, Japan; Encontro de instrumentistas in Joao Pessoa and Belo Horizonte, Brazil; the Biennial International Symposium on Arts and Technology in New London, Connecticut; a State Department tour of Morocco; various International Society of Bassists Conventions in Bloomington, Houston, Indianapolis, Iowa City and Richmond; and jazz fest ivals in Chicago, New York, Detroit, Madison, Milwaukee, and Minneapolis. Sturm has contributed performances and compositions to more than thirty recordings with artists including the Pro Arte String Quartet, soprano Mimmi Fulmer, vocalist Jackie Allen, synthesist/composer Joan Wildman, guitarists Scott Fields, Rolf Sturm, Dave Baney, Jeff Parker, and Jack Grassel, trumpeters Bob Levy and David Young, and pianists Jane Reynolds, and Marilyn Crispell. He has recorded for A440, Innova, Red Mark, Music and Arts, CRI, Big Chicago, and Cadence labels among others.Hans Sturm is currently the President-Elect of the International Society of Bassists and served as the New Music Editor for the organization’s journal ‘Bass World’ for six years. He is on the summer faculty of the National High School Music Institute at Northwestern University and his works for bass are published by Liben Music (U.S.) and Klaus Schruff (Europe). His major teachers have included Northwestern University Professor Jeff Bradetich, Pittsburgh Symphony Principal Bass Emeritus Anthony Bianco, Philadelphia Orchestra bassist Ferdinand Maresh, and international soloist and pedagogue François Rabbath.

This week we are wrapping up our interview with double bass virtuoso François Rabbath. You can hear the previous sections of this interview on episode 16 and episode 22 of the podcast. We will also be featuring in interesting new twist in Contrabass Conversations interviews today—the Lyric Opera’s Andy Anderson (a regular collaborator on the podcast) will be discussing one piece in depth and offering practice advice and tips. This week we will be discussing the first movement of Mozart’s Symphony No. 40, which we will be doing after the conclusion of our Rabbath interview. Today we will also be hearing tracks from “At the Uke Shack #1?, featuring Seattle bassist Matt Weiner as well as Del Rey on ukulele. You’ll hear “Clockin’ the Vic" right after we conclude our conversation with Rabbath as well as a few tunes at the end of the program. Enjoy!

Born in Aleppo, Syria into a musical family of six boys and three girls, François discovered the double bass at the age of thirteen when one of his brothers brought an instrument home and allowed him to experiment with it. When the family moved to Beirut, Lebanon he found an old copy of Edouard Nanny's Contrabass Method in a tailor shop and with some difficulty, since he read neither music nor French, began to teach himself. After nine years of work in Beirut, François saved enough money to move to Paris for a year. He was eager to go to the Paris Conservatory, meet with Monsieur Nanny and show him what he was able to do with the bass. When he applied at the Conservatory he was disappointed to learn that Nanny had died in 1947. He was also told that auditions were to be held in three days and that he would never have enough time to learn the required pieces. He asked for the music anyway and returned three days later to finish first among the applicants. However, his stay at the Conservatory was a brief one, since it didn't take very long to see that he was not only far ahead of the other students but of the professors as well! François Rabbath's uniqueness stems from his refusal to accept any traditional limitations. Whether performing his own fascinating compositions, the music of others or the classical repertoire, one is always moved by his profound musicianship and dazzling virtuosity. You quickly discover that he brings you such a sense of security that the most difficult passages sound effortless. The importance of François Rabbath to the development of double bass playing can be compared with that of Paganini to the violin. Since the early 1800s when Nicole Paganini established the violin as a virtuoso instrument, solo violinists have practiced the most brilliant of instrumental art. Meanwhile, the development of double bass playing had been seriously neglected. The great and popular 19th century composers did not consider the bass worth their attention and in turn the bass repertoire did not attract potential virtuoso performers with enough genius to change the situation. It demanded an artist with the unique qualities of François Rabbath to break this impasse. http://www.liben.com/FRBio.html Musical Guest - Leon Bosch You will be hearing the Bottesini Elegy and the Bottesini Gavotta from Leon Bosch’s recent solo album called Virtuoso Double Bass, which is available from Meridian Records. Leon’s website: http://www.leonbosch.co.uk Album information for Virtuoso Double Bass: http://www.leonbosch.co.uk/music.php Click here to order this great album from Leon Bosch: http://www.meridian-records.co.uk/acatalog/CDE84544a.html Meridian Records website: http://www.meridian-records.co.uk/ About Leon Bosch: (Visit his website for more information about this great artist’s career and the challenges he had to overcome during his early years in Apartheid South Africa.) From liner notes to his recent release as well as an interview with Lawrence Milner – published in the Summer 2003 edition of Double Bassist magazine: Leon had to overcome many difficult circumstances in the early years of his career. He was arrested by members of the Cape Town special branch when he was just 15 years old for demonstrating against the Apartheid government outside of parliament. He faced a month’s detention and torture, only to be found not guilty on all charges. This experience fired up his ambition to become a lawyer, but this field of study was forbidden to him by the regime at the time. He then chose to study a subject that would be the least likely to mark him out as subversive—music. Had Bosch been able to pursue his prime aspiration to become a lawyer, the cello/double bass debate might never have occurred. Born in Cape Town, South Africa in 1961, Bosch was forbidden by the repressive regime of the time to study law, so applied to the University's music faculty instead `as a light-hearted prank.' The `prank' soon turned more serious. Once enrolled at the University, Bosch studied with Zoltan Kovats, principal double bassist of the Cape Town Symphony Orchestra at that time. A single year into his studies, the young student was invited to play in the Symphony Orchestra's bass section alongside his mentor. Only another 12 months passed before he was giving his first solo performance of Dittersdorf 's concerto in E major. Completing his Batchelor of Music Performance degree at the University, he received the highest mark ever awarded there in a performance examination. Post-university, Bosch quickly realised that he would have to study abroad if he really wanted to further his performance career, but was thwarted once again by the apartheid laws which decreed that overseas scholarships could only be given to white performers. However, Bosch was undeterred. `I had a passionate commitment to the double bass and never enter- tained the idea that I would fail in my pursuit', he asserts. Fortunately, a number of private individuals came forward to sponsor his travel to England where he was heard playing by Rodney Slatford, the former Head of School of Strings at the Royal Northern College of Music (RNCM), who offered to teach him. Bosch enrolled at the RNCM following a successful interview with Eleanor Warren to study with Slatford and Duncan McTier. He describes his time at RNCM as `extremely fruitful'. Bosch's prestigious record of achievements also continued there, as he received the College's PPRNCM (Professional Performer of the RNCM) with distinction, the first such award to a double bassist in the College's history. Studies completed, Bosch embarked on the varied professional orchestral and chamber career that continues to this day. His first assignment was with the Royal Scottish National Orchestra, moving onto The Manchester Camerata as principal in 1985. His playing career has also taken in the BBC Philharmonic, Hallé, Royal Liverpool Philharmonic, Opera North and Scottish Chamber orchestras, plus the Moscow Virtuosi Chamber Orchestra, Brodsky Quartet and Goldberg Ensemble as a freelance performer, a career path that he chose to `give me greater variety in my playing.' A decade after his first principal appointment, Bosch began his current association with the Academy of St Martin in the Fields, touring with the orchestra's founder, Sir Neville Marriner. `Chamber music represents the most enjoyable part of my musical life,' he enthuses, explaining why he has focused on this area through most of his professional career ¬ which has taken in almost all of the major chamber orchestras in the UK.  

Born in Aleppo, Syria into a musical family of six boys and three girls, François discovered the double bass at the age of thirteen when one of his brothers brought an instrument home and allowed him to experiment with it. When the family moved to Beirut, Lebanon he found an old copy of Edouard Nanny's Contrabass Method in a tailor shop and with some difficulty, since he read neither music nor French, began to teach himself. After nine years of work in Beirut, François saved enough money to move to Paris for a year. He was eager to go to the Paris Conservatory, meet with Monsieur Nanny and show him what he was able to do with the bass. When he applied at the Conservatory he was disappointed to learn that Nanny had died in 1947. He was also told that auditions were to be held in three days and that he would never have enough time to learn the required pieces. He asked for the music anyway and returned three days later to finish first among the applicants. However, his stay at the Conservatory was a brief one, since it didn't take very long to see that he was not only far ahead of the other students but of the professors as well! François Rabbath's uniqueness stems from his refusal to accept any traditional limitations. Whether performing his own fascinating compositions, the music of others or the classical repertoire, one is always moved by his profound musicianship and dazzling virtuosity. You quickly discover that he brings you such a sense of security that the most difficult passages sound effortless. The importance of François Rabbath to the development of double bass playing can be compared with that of Paganini to the violin. Since the early 1800s when Nicole Paganini established the violin as a virtuoso instrument, solo violinists have practiced the most brilliant of instrumental art. Meanwhile, the development of double bass playing had been seriously neglected. The great and popular 19th century composers did not consider the bass worth their attention and in turn the bass repertoire did not attract potential virtuoso performers with enough genius to change the situation. It demanded an artist with the unique qualities of François Rabbath to break this impasse. http://www.liben.com/FRBio.html