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Suite I für Kontrabass von Grillo, Fernando
| Komponist | Grillo, Fernando |
| Titel | Suite I für Kontrabass |
| Herausgeber/Katalognr. | KBB 10 |
| Besetzung | KB |
| Verlag | Schott Musik International |
| Kontrabässe | 1 |
| Tasteninstrument | |
| Orchester | |
| Bläser | |
| Streicher | |
| Schlaginstrument | |
| Saiteninstrument | |
| Sänger | |
| CD |
Premiere: 30. Oktober 1988 in Florenz Enrico Francioni
Duration: 44' 0''
Year of composition: 2005
78 Pages - Saddle stitching
ISMN: M-001-13723-2
Price: 29,95 € (including VAT and plus delivery bei www.schott-music.com/shop/products/show,176495.html)
Review: www.schott-international.com/cms/php/Proxy.ph ... ell/neu/showarticle,10395.html
Kontaktinfo zu Fernando Grillo:
Maestro Fernando Grillo
Head of the Department of double bass at the Music Conservatory, "S. Cecilia", in Rome.
Address: Via dei Priori, 24 I - 06123 PERUGIA (Italy)
Phone: 0039 - 339 78 54 750
E-mail and Internet: fernandogrillo@virgilio.it / www.fernandogrillo.net
Rezensionen
Es ist noch keine Bewertung vorhanden.FERNANDO GRILLO, 08.08.2007
“Suite 1 for double bass is a historic event that revolutionizes the basic execution of string instrument playing, with the new and unusual aspects that it contributes to music discipline and practices.
After the first inevitable visual impact – the direct approach between the musician and the sheet of music, forewarned by the “initiatory“ character of the sound that permeates all the work – and the obvious disorientation it can cause, the interpreter will be inevitably urged to understand the sound events by means of their scrupulous analysis and instructions for execution.
The work reveals, like an open book, the need to reach a high level of musical refinement that is based on the physical-positive truth of the perceptions of sound parameters.
The horizontal and vertical architecture is clearly expressed visually by the thorough positioning of useful graphical signs and perceptionally by the sound produced.
The transmission of thought, accomplished with the “coagulation” on paper and the simple appropriation of the execution through the manifestation of the sound, has allowed me the extraordinary opportunity to provoke a “reawakening” of the desire for knowledge that makes the potentiality for research inexhaustible.
The main inspiration of the composition can be traced back to the proportions - manifested in “nature”- of the Pythagorean monochord: the fundamental of the 1st harmonic from which the harmonic sounds of the numerical series are enucleated. This tension of grave to high, so wonderfully produced by the double bass, convinced me to elaborate a music that places the attack (first in the sound production), timbre (relevant because it has never been heard before), length (defined by the articulation sign that allows the string to be “let to vibrate”) and the dynamic (a relevant “milieu” of the interpretative psyche) to regulate the perception of sound and no longer the height of sound, like the improbable attempt to “imitate” the violin.
In particular, I would like to underline the new concept of bowing, introduced by the Suite I and in relation to the sound parameters: attack, length, pitch, dynamics and timbre, the execution of the graduated articulation signs by lifting and adhering the bow to the string, the use of harmonic sounds in their timbre peculiarity, the scrupulous tablature of the pitch of the sound, assuming a correct and natural position of the hand according to the physiology of the articulation, allowing an intonation based on expressive procedures and, last but not least, musical graphics that sustain “intelligent” reading.
These aspects are continuously present in the composition, which, although founded on traditional structures, in particular baroque music, not infrequently extends to sounds that have never been heard before.
Indeed, due to the “continuum” of musical invention, one discovers new and unexplored possibilities for the instrument and a sense of extreme naturalness is reawakened in the listener: therefore, every event constitutes a profound moment of reflection for the scholar.
Finally, in Suite I thought and sound become a reality, while awaiting new developments in musical practices.
I would like to express, now, with Leonardo da Vinci, what animates my sound studies and my passions:“And drawn by my yearning desire, I wander to see the great mingling of the various and strange forms made by artful nature … my back bent in a bow, … immediately two things awake in me, fear and desire: fear of my dark menacing den, desire to see if several miraculous things enter it …”. Fernando Grillo. Schott Music: http://www.schott-music.com/shop/products/show,176495.html
BASS WORLD
The Magazine of the International Society of Bassist
Volume 30 - Number Three - 2007
SUITE I (1983/2005)
Fernando Grillo
Edition Schott
KBB 10
ISMN M-001-13723-2
www.schott-music.com
The first thing that one notices about Fernando Grillo’s Suite I is that it is big. The edition of this unaccompanied solo work comes in at 77 pages, 17 of which are explanations of the notation and performance instructions. There are a couple of other pages devoted to a Preface and a photo of Mr. Grillo. Upon opening the score, the second thing one notices is that Suite I is a complex composition. As the pages are brimming with conventional and unconventional notational symbols, the need for 17 pages of instructions becomes apparent. However, what one may not notice at first or even second glance is that this is an important new work for the double bass. It may be a masterpiece.
Fernando Grillo’ commitment to contemporary music and his innovations into the sonic properties of the double bass are legendary. Therefore, it is striking that the basis of Suite I is the Baroque language of the suite, the pinnacle of which are Johann Sebastian Bach’s Six Suites for solo cello. Like the Bach Suites, Suite I has six movements – Prelude, Allemande, Courante, Sarabande, Gavotte I & II, and Gigue. Typical meters apply, such as the 4/4 of the Prelude, the Sarabande in 3/4, a Gavotte in cut time, or the 12/8 Gigue. At times, Mr. Grillo employs the rhythm of a particular dance; at other times he suggests or freely interprets the rhythm.
The printed page contains two layers of information. The first layer is conventional: a staff, familiar pitch and rhythmic notation, time signatures, key signatures (the suite is in d minor), and dynamics. The second layer is a collection of graphic symbols that lead the performer into an extremely detailed bowing technique that explores sound parameters such as attack, length, release, articulation, bow speed, pitch, vibratos, dynamics, timbre, harmonics, and more. Each aspect of a note’s sound has been considered and notated.
Scrupulously observing this notation will reveal a highly original sound world. In the words of Salvatore Sciarrino, from the Preface: ”There are composers whose thoughts eclipse or absorb the sense of sound of their own music. And composers whose sound attire is a luxuriance of striking ‘fioritura’. Fernando Grillo cannot be placed in either of these two categories but, rather, he summarizes and goes beyond them. He represents that rare position of balance between physiology and thought, sound and language.“
Suite I will require extensive study for anyone wishing to play it. There is much more to master than bowings, fingerings and expression. Suite I will take the performer on a journey of exploration and discovery. The rewards for this journey will be rich, as Suite I will take you into the heart of the double bass and the soul of the bow. In the words of the composer: “indeed, due to the continuum of musical invention, one discovers new and unexplored possibilities for the instrument and a sense of extreme naturalness is reawakened in the listener: therefore, every event constitutes a profound moment of reflection for the scholar.“
In keeping with Edition Schott’ high productions values, this publication is cleanly printed, on fine paper. Considerable effort was taken to make the complex notation easy to read. (In this edition of Suite No. 1, the composer has produced the musical graphics, the illustrative notes, and explanations of the signs used.) The text is in Italian, English and German.
The I of Suite I implies that there are additional Suites. Indeed, Mr. Grillo is planning four more, each in a different style. Edition Schott is encouraged to continue their respectful publication of each Suite, as they are composed. A collection of five suites by Fernando Grillo would be a monumental contribution to the double bass repertoire. – Review by Robert Black
Wer ihn als maßstabsetzenden Innovator des zeitgenössischen Kontrabaßspiels kennenlernte, mag überrascht sein, daß Fernando Grillo in seiner Suite I für Kontrabaß auf die Musiksprache des Barock zurückgreift. Und doch steht auch hinter diesem Werk die gleiche Ästhetik, die dem gesamten kompositorischen Werk Grillos zugrunde liegt: die Idee einer wahrhaft eigenständigen Musik, die aus einer eingehenden Erforschung der spezifischen klanglichen und technischen Möglichkeiten des Instruments erwächst.
Die Suite I bietet somit dem Studierenden wie dem Konzertierenden eine musikalisch wie spieltechnisch höchst anspruchsvolle Alternative zu den zahlreichen Bearbeitungen, auf die Kontrabassisten aus Mangel an Originalliteratur häufig zurückgreifen.
Fernando Grillo beabsichtigt, der ersten Suite vier weitere in verschiedenen Stilarten folgen zu lassen.
Peter Niklas Wilson
Es gibt Komponisten, deren Gedanken in irgendeiner Weise den Sinn des Klangs in ihrer Musik verschleiern und solche, die ihn verkörpern. Und Komponisten, für die die Klanghülle die üppige Fülle einer vollen Blüte wiedergibt. Fernando Grillo gehört weder der einen noch der anderen Richtung an, sondern geht synthetisierend über beide hinaus; er vertritt die so rare Gleichgewichtsstellung zwischen Physiologie und Gedanken, zwischen Klang und Sprache.
Diese Einheit strahlt Fernando Grillo auch durch seine Persönlichkeit aus. Er revolutioniert die Technik vom tiefsten Grund auf, nicht durch Virtuosität, nicht durch die Magie des Klangs, nicht durch seine interpretatorischen Fähigkeiten, nicht durch sein kompositorisches Können (all dies ist in ihm ohnehin schon mehr als offensichtlich), sondern durch diese längst ausgestorbene vollkommene Fusion zwischen Interpret und Instrument. Und diese zärtliche Symbiose aus unendlicher Liebe strahlt in vollendeter Reife des Ausdrucks und darauf sich stützend, gewinnt sie an Kraft. Salvatore Sciarrino
“Es war der Dirigent Sergiu Celibidache, der einmal sagte, dass Noten noch keine Musik seien. Noten seien nur “die Vehikel, die die Musik transportieren“. Das waren noch Zeiten, als der Zeichenvorrat ausreichte, um damit Musik zu machen. Mit der reinen Notenschrift ist es heute jedoch nicht mehr getan, die “Vehikel“ haben erheblich zugenommen. Leider jedoch nicht so einheitlich wie bisher. Bei der vorliegenden Suite für Kontrabass-Solo von Fernando Grillo, die sich formal und stilistisch durchaus in barocken Bahnen bewegt, ist jede Note mit mindestens einer, wenn nicht mit mehreren weiteren Informationen belegt. Die dreisprachige Gebrauchsanweisung, durch viele Grafiken und Notenbeispiele ergänzt, bringt auf insgesamt 17 Seiten “Erläuternde Anmerkungen und Erklärungen der von Fernando Grillo verwendeten Zeichen“. Bevor man also den ersten Ton spielt, ist ein sehr gründliches Studium der “Verkehrszeichen“ angesagt. Besonders der Bogen bekommt ein ganzes Kompendium neuer Aufgaben: Ansatz, Dauer, Streichgeschwindigkeit oder Abhubabstand sind genauestens geregelt. Aber auch Tonhöhen, die stufenlos fallen und steigen können, mal mit, mal ohne Vibrato, sind festgelegt. Die Techniken des Fingersatzes, inklusive mancher Streckungen in der Daumenlage, dazu die Dynamik und Klangfarbe unterliegen festen Vorschriften. Das sieht auf den ersten Blick alles nach einer absoluten Einengung, nach kompositorischer Diktatur aus. Doch bei näherer Betrachtung merkt man, dass auch diese Musik letztlich bei aller Festlegung interpretationsoffen ist, dass eigene Kreativitäten beim Spiel möglich, ja erwünscht sind. Der heute sechzigjährige Fernando Grillo steht in der lange unterbrochen gewesenen Tradition berühmter Namen, für die eine Fusion von Instrumentalist und Komponist noch eine Selbstverständlichkeit war. Kontrabassisten wie Hoffmeister, Bottesini, Vanhal, Sperger oder später Kussevitzky haben das Repertoire für ihr Instrument selbst wesentlich erweitert. So auch Grillo, der den Spielern Originales anbietet: Die Zeiten, in denen man meinte, aus Mangel heraus Bearbeitungen spielen zu müssen, sind längst vorbei. Grillos Hauptanliegen ist die Revolutionierung des Klangs auf seinem Instrument. Auch wenn er völlig neue Spieltechniken fordert, steht dabei nicht die Virtuosität im Vordergrund, sondern eine neuartige Sinngebung des Tons. Hier werden plötzlich Farben lebendig, die man auf dem Kontrabass bisher nicht hörte. Die Satzfolge ist mit den sechs Solosuiten Bachs für Cello identisch, also Prélude, Allemande, Courante, Sarabande, Gavotte I und II und Gigue. Aber auch sonst ist hier vom bachschen Geist viel lebendig. Mit etwa 45 Spielminuten ist diese Suite aber deutlich länger als eine der barocken Suiten. Das Werk entstand schon 1983 und wurde 1988 in Florenz von Enrico Francioni uraufgeführt. Gewidmet ist es Grillos Lehrer Corrado Penta e Amedeo Baldovino. 2005 hat Grillo die Suite noch einmal überarbeitet und nun herausgegeben. Der hohe Schwierigkeitsgrad hält die Zahl der möglichen Interpreten natürlich überschaubar. Diese Suite kann man nicht einfach spielen: Der Solist muss sie erleben, er (oder sie) muss selbst zu Klang werden, muss über den Klang meditieren. Karlheinz Stockhausen nannte Grillo deshalb schon einmal “den Buddha des Kontrabasses“. Doch auch, wenn man weltanschauliche Verbindungen außen vor lässt, ergibt sich eine besondere musikalische Psychologie des Spiels und des Klangs. Und das hat bei richtiger Verwendung auf die Hörer unmittelbar eine große Sogwirkung. Man sollte sich mit dieser Suite beschäftigen“. Das Orchester. Wolfgang Teubner.
http://www.schott-international.com/cms/php/P ... ell/neu/showarticle,10395.html
“The Suite is transcendental!”. Corrado Penta
“Dear Fernando Grillo, thank you for the enormous enrichment and inspiration of your Suite. From your devoted fun”. Gary Karr
“Dear Fernando, I did receive your package with Suite No. I. It is a very impressive piece. I thank you so much for sending me a copy and mostly for doing all that enormous work to create the piece and the technical system that goes with it. May your new piece find great success in the music and bass world”. Barre Phillips
“Dear Maestro Fernando Grillo,
I received your Suite I and it is great honour for me to have your "Suite I" with your dedication.Your composition is a great step for new double bass technique and aesthetique future.
My best congratulations for your extraordinary talent and unique imagination for a futuristique double bass possibilities“. Irena Olkiewicz. Art Director of World Bass Festival Wroclaw
“Dear Maestro Grillo,
I received your wonderful Suite I for solo double bass as well as your marvelous CDs. I thank you very much for sending them.
I have been working on Suite I a little bit every day. It is both challenging, and extremely gratifying to play. I enjoy working on it and look forward to performing it. I like the illustrative notes that you included at the beginning of the composition. This has become more helpful as I become more familiar with the piece.
When I perform it, I will send you a recording of it for your collection“. Anthony Stoops
“Dearest Maestro,
I would like to thank you very much for your "Suite I" and the recordings, which I have received lost month.
I think your composition is one of the most important works ever written for the double bass.
Firstly, it offers real compendium of physical and technical knowledge about the sound of instrument.
Your meticulously completed explanations should be obligatory for many teaching methods.
Many double bassists can find there precision definition of those aspects of playing, which are usually though as obviously, but in fact often the performance of it seems to be accidental.
The point of view, you propose, gives the opportunity to realize spectrum of possibilities of the instrument, and could completely change mind in thinking about the music.
Finally, the "Suite" is an extraordinary position in solo bass literature, because of artistic and esthetic reasons and, in my opinion, should get the success at many stages“. Karol Kowal
“I have recently had the opportunity to study Suite 1 in detail with Maestro Fernando Grillo. His teaching has assisted me much more to understand his intentions within the work.
I now solemnly believe that Suite 1 presents a completely new perspective for the Double Bass as a solo instrument.
It is within this work that all natural elements of the double bass are utilised. I believe this especially after studying with Maestro Grillo and discussing very specific details in each movement. It is important to be aware that bowings are only playable by lifting the hair above the string and having complete control of bow division from a whole down to 1/16.
As Fernando Grillo states in the explanatory section the most important aspect is the beginning and end of each sound. It is between each sound, the physical movement that articulates the proceeding event. As you could imagine it is like applying a magnifying glass to all the movements you make. It is this element that trains one to always think ahead. I believe this to be one of the most important aspects of becoming a professional musician. Outside of this the music is the result.
Indeed some movements are more complicated than others. I suggest the Sarabande at first and perhaps finish with the Courante as it has some of the most advanced Double Bass techniques ever. I have enjoyed studying this work and look forward to performing it.
A few months ago I wrote short description about Suite 1. I thought I would attach it in case anyone was interested.
“Fernando Grillo recently had Schott publish his Suite 1 for solo double bass. The edition is exceptionally beautiful. It is printed clearly and the attention to detail is impeccable. It is great to finally see such a significant work printed with the attention it deserves.
To understand the breadth of this piece we only need to remember what Fernando Grillo has done to already bring the double bass into this century.
As a soloist / composer he has become famous for his work and collaborations with Karlheinz Stockhausen, Iannis Xenakis, Giacinto Scelsi and many other composers that have had such significant influence.
Fernando Grillo’ recording Fluvine and interpretations of Concertos commissioned for him by Joanna Bruzdowicz, Iancu Dumitrescu, Klaus Huber demonstrate he is the leader in the European Double Bass sound.
Grillo now presents his own composition Suite 1 which he started in 1983 and completed for publication in 2005. Thorough study of the score is what is required as soon as you turn the first page. The Suite is introduced with explanatory notes that clearly describe in minute detail what every symbol stands for and exactly how it should be interpreted. Whether it is bowing, fingerings, vibrato, harmonics, strings (I-IV) Grillo leaves nothing unexplained. The explanatory notes are an exhaustive resource in themselves and will keep the dedicated double bassist occupied much longer than the 16 pages they are printed on.
Flourishing arpeggios, operatic melodic lines and virtuosic technique to me were the trademarks of Bottesini’ virtuoso compositions. Now Grillo presents all of the above and enhances the spectrum of possibilities by articulating what bowings will produce the desired attack, length and colour.
To perform all the intricate details and transfer what is on paper to sound one most definitely acquire a virtuosic technique. With these additions to his music it is obvious Fernando Grillo has set a new benchmark for the history of double bass.
The benefits of studying Suite 1 are that it encourages the performer to analyse the physical properties of the double bass and set them into a homogenous musical setting. I have found that the Suite combines every nuance from the lowest open string to the 9 degree in harmonics poetically and doesn’t make registers sound disjointed.
The Suite consists of Prelude, Allemande, Courante, Sarabande, Gavotte I and II and Gigue. The central key is D minor. There is a plethora of modulations and complex chromatism, which requires a well-trained ear and committed practise to perfect.
Rhythmically all the movement are traditionally similar to what is found in the Bach cello suites however Grillo adds a modern touch with expressive markings and tempo retardations that are completely musical and logical.
The bowings and articulations imply phrasing and musical shape reminiscent of early music. The Suite played on the double bass sounds similar to a viola da gamba particularly when performed in solo tuning because it incorporates multiple double to quadruple note chords that resonate and exploit the real sound of an open string or harmonic.
All the movements are representative of a masterful composer and are extremely enjoyable to perform.
Fernando Grillo’ Suite 1 is a work that belongs in all professional and aspiring soloists repertoire”. Mark Cauvin. Double Bass Soloist. Goulburn Conservatorium, Tutor for SBS Youth Orchestra, Australia
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