Dean did an hour-long performance at the 2007 ISB Convention featuring music from Captain Tobias Hume. This year’s performance is titled “Ode to Per Questa.” Enough said–check it out (approx. 45 minutes):

Video Download Link (276 MB)

I have another half-dozen or so videos of Dean that I recorded on another occasion during this past convention, and I’ll be putting them out over the next few weeks as well.

We’re featuring some brief interviews I did with people on the floor of the 2009 International Society of Bassists Convention at Penn State in June. Feel free to check out my ISB 2009 Retrospective blog post for even more information on what was happening at this year’s convention, and stay tuned for an avalanche of content from this event over the next couple of months!

During this episode, I chat with Bill Wasson, Ian Saunders, Robert Meyer, and several University of Michigan students, as well as featuring some listener feedback and news.

This week, we’re featuring an interview with Klauss Stoll, the recently retired Principal Bass of the Berlin Philharmonic. He has taught for many years in Berlin, Salzburg, and in master classes worldwide, and is regarded as one of the finest teachers of the double bass alive today.

This interview was conducted by Jonathan Stefaniak, a former member of the Civic Orchestra who is now playing in an orchestra in Japan. Jonathan was recently working with Professor Stoll in a master class setting and had the opportunity to sit down and chat with him for the podcast.

In this interview, Jonathan and Klaus discuss Klaus’ early years on the instrument, his time spent in the Berlin Philharmonic, auditioning for co-principal and eventually first principal chair, his chamber duo, orchestral style, developments in eduction and the decline of the despotic maestro, the unique characteristics of the Berlin Philharmonic, and specifics about his teaching.

Learn more about Klaus at his website: klausstoll.com

Klaus also has a DVD for sale.

About Klaus Stoll:

Klaus Stoll, born in May 1943 in Rheydt / Germany, first played the violin, but at the age of twelve started playing the double bass which he was taught by his father Karl Stoll . During studies with Heinz Detering in Cologne he became a member of the Niederrheinische Sinfoniker in 1959. Six years later he joined the Berlin Philharmonic Orchestra, became co – principal bassist in 1967 and finally, in 1992 he became first soloist of this world famous orchestra.

In addition to his frequent appearances as soloist he has a long and worldwide career as chamber musician. Stoll premiered more than sixty new works for double bass solo and appeared at many renowned festivals (in Salzburg, Lucerne, Aldeburgh, Helsinki, Echternach, Santander, Rheingau, Tokyo, etc.). Klaus Stoll works with the Berlin Philharmonic Ensemble ” Berliner Barocksolisten ” and periodically together with great musicians like Heinz Holliger, Maurice Bourgue, Emanuel Pahud, Andras Schiff, Bruno Canino, Rainer Kussmaul, Christiane Jaccotet, Thomas Zehetmair, and Nicolaus Harnoncourt.

He has taught at the “Hochschule der Kuenste” ( HdK / UdK ) in Berlin from 1980 to 2000, as professor at the Hochschule Mozarteum in Salzburg from 1991 to 1998 and since 1992 he exclusively teaches at the ” Academy of Berlin Philharmonic Orchestra. He regulary held courses and masterclasses in Italy ( Milano , Ferrara , Fiesole ) , in Japan ( PMF) , for ten years between 1988 and 2004 at the Carl – Flesch – Academy in Baden – Baden , from 1991 to 1997 the summer academies in Salzburg and since 2003 he teaches at the Instrumenta in Puebla and Oaxaca / Mexico . Klaus Stoll is appointed professor h.c. of the Shanghai Conservatory of Music since 2005 and has taught in 18 countries of Europe , Asia and North and South America.

Since 2002 Klaus Stoll and his wife Ofelia hold courses and classes together in both main techniques, the French and the German Bow and in their languages German, English and Spanish for professional and junior bassists.

Video Download Link (14 MB)

We’re featuring the Courante and Gigue from the Sixth Cello Suite by J.S. Bach as well as the first movement of the Shostakovich Cello Concerto No. 2 on Eclectic Bass this week, played impeccably by the wonderful bassist Ben Jensen, currently a student of Bruce Bransby at Indiana University. These were recorded live in a master class at Indiana University and are an outstanding example of bass playing. Enjoy!

We’ve featured Indiana University double bass professor Lawrence Hurst on Contrabass Conversations previously–if you haven’t checked out this interview before, I’d encourage you to check it out. Indiana University has an established reputation as one of the premier institutions for top-notch double bassists to perfect their craft, and if Ben’s example is any indication of the talents of the younger generation of bassists, we’re in good hands indeed!

We’re featuring Boston Symphony Principal Bassist Ed Barker on this week’s Contrabass Conversations episode. Conducted by Contrabass Conversations co-host John Grillo, this episode features John chatting with Ed about his early years on the bass, his schooling and time spent in the Chicago Symphony prior to his appointment with the Boston Symphony, and in-depth look at articulation on the bass, and a discussion on practicing. We hope you enjoy this conversation with this modern master performer and teacher of the double bass!

About Ed Barker:

Edwin Barker is recognized as one of the most gifted bassists on the American concert scene. Acknowledged as an accomplished solo and ensemble player, Mr. Barker has concertized in North America, Europe, and the Far East.

Edwin Barker has performed and recorded with the Boston Symphony Orchestra, the Boston Symphony Chamber Players, and with the contemporary music ensemble Collage, a Boston – based contemporary music ensemble, and is a frequent guest performer with the Boston Chamber Music Society. Mr. Barker gave the world premiere of James Yannatos’ Concerto for Contrabass and Chamber Orchestra and of Theodore Antoniou’s Concertino for Contrabass and Chamber Orchestra ; he was the featured soloist in the New England premiere of Gunther Schuller’s Concerto for Double Bass and Chamber Orchestra, conducted by the composer with The Pro Arte Chamber Orchestra.

Mr. Barker graduated with honors from the New England Conservatory in 1976, where he studied double bass with Henry Portnoi. That same year, while a member of the Chicago Symphony, he was appointed at age 22 to the position of principal double bass of the Boston Symphony Orchestra. His other double bass teachers included Peter Mercurio, Richard Stephan, Angelo LaMariana, and David Perleman.

Mr. Barker was invited to inaugurate the 100th anniversary season of the Boston Symphony Orchestra with a solo performance of the Koussevitzky Bass Concerto; other solo engagements have included appearances at Ozawa Hall (Tanglewood), Carnegie Recital Hall’s “Sweet and Low” series, and at major universities and conferences throughout the world, as well as concerto performances with the Boston Classical Orchestra, the Athens State Orchestra (Greece) and with the Boston Symphony Orchestra in Boston and Europe. He was a featured premiere soloist with the Boston Symphony of John Harbison’s Concerto for Bass Viol and Orchestra at Tanglewood’s 2007 Festival of Contemporary Music.

Mr. Barker is an Associate Professor at the Boston University College of Fine Arts where he teaches double bass, orchestral techniques, and chamber music. His other major teaching affiliations include the Boston Symphony Orchestra’s Tanglewood Music Center, where he is Chairman of Instrumental and Orchestral Studies.

Edwin Barker’s solo CD recordings include Three Sonatas for Double Bass, on Boston Records, James Yannatos’ Variations for Solo Contrabass, on Albany Records, and Concerti for Double Bass, on GM Recordings, which includes bass concerti by Gunther Schuller and Theodore Antoniou. Concerti for Contrabass also includes his highly praised performance of Tom Johnson’s Failing , which was recorded live at Harvard University’s Sanders Theater. Edwin Barker’s latest solo offering on CD is a recently released performance of James Yannatos’ Concerto for Contrabass with Collage.

More from John Grillo:

• The State of the Orchestra
• Differences in Opera and Orchestra Playing
• Opera Excerpt Breakdown
• Orchestral Excerpt Breakdown
• Owen Lee Interview
• Max Dimoff interview
• Dan Krekeler interview
• Ranaan Meyer interview
• Lawrence Hurst interview
• John Grillo recital showcase
• John Grillo interview
• Jack Budrow interview

This week, we’re featuring double bassist David Cardon telling a bass-related tale that I find extremely amusing. I’d rather not give out any details beyond that–just check out this concise (less than 10 minutes) story from Dave. Dave is also involved with the excellent music publisher Discordia Music, which specializes in ultra-classy editions for the double bass. Check them out!

I haven’t done a whole lot of “story episodes” during the run of Contrabass Conversations, but I’m always itching to do more, so hopefully I’ll get some time to do so over the summer this year. You can check out the story episodes that have come out (which include my car explosion tale) below:

• Auditioning is a Rotten Pastime
• Annoying Conductors 101
• Bugs Bunny is My Mortal Enemy
• My Car Caught Fire and Exploded!
• Cabs!

In our interview, we discuss Jon’s early years on the bass, his time spent touring with Stephane Grappelli and Tony Bennett, his upcoming book “The Untold Secret to Melodic Bass Playing,” upcoming projects, as well as advice for younger players coming up in the business right now. After the interview, we feature “Nobody Said It Was Easy,” one of Jon’s original tunes.

Learn more about Jon at his website jonburr.com and his food blog highfibercooking.com, and find him on Twitter at twitter.com/jonburr.

We’re concluding the interview that we began on CBC 114 with double bassist Mark Morton, who is currently professor of bass at Texas Tech University in Lubbock, TX and has also served as Principal Bass of the Columbus Symphony. Mark was the first prize winner at the International Society of Bassists Solo Competition, and he was the assistant double bass instructor for Gary Karr at the Hartt School of Music. He is well-known for writing and publishing the “Dr. Morton” series of books on the art of bass playing, and he is the founder of the American School of Double Bass.

We start this segment of our interview discussing Mark’s Simandl-Plus® approach and how it increases the number of techniques available to the modern bassist, as well as some specific examples in orchestra repertoire where these kind of techniques can be used. We also talk about when Mark starts using the third finger and the thumb on the neck, adopting a more flexible approach than advocated in Simandl technique. We also discuss melodic gestures and when to shift according to a particular gesture, lyrical and technical fingerings and when to use them, shifting strategies, the value of Simandl and how it teaches the “grid” of the fingerboard, Mark’s fingerboard mapping system, and some of his upcoming projects.
We also feature a recording this week of Mark playing the Gliere Tarantella from his album Russian Rendezvous, which is available from CD Baby or the iTunes Music Store.

I recommend downloading Mark’s Simandl-Plus® packet and following along with our discussion to get a more complete idea of how he implements these concepts.

This week, we discuss

Links: American School of Double Bass, Texas Tech School of Music

The audio track (about 1 1/4 hours) from the Chicago Music Commission’s Musicians at Work forum in which I recently participated as a panelist was released a couple of weeks ago. Podcasters Jim Goodrich and Fred Wells, along with Gaper’s Block writer Graham Sanford and yours truly all participated an a Q&A about podcasting, blogging, and how to get started doing both with some sort of business-oriented motivation in mind. Hope you find it interesting!

I’ve done several blog/podcast/musical entrepreneurship events like this over the past few years, most recently for the Chicago Chapter of the Association for Computing Machinery (ACM) down at Roosevelt University. Though my blog and podcast tend to be more geared toward the classical side of things, I’ve done a lot of more general chatter about how this kind of stuff I do can benefit all musicians. It’s funny–I never set out to have a successful blog, but I now find myself with a popular music blog, a podcast (which feels like the most constructive thing I do online!), and a guy who manages a few other projects like these for different groups. In fact, I was sort of embarrassed that I had this site for a long time, but I continue to realize that life’s twists and turns can take you down the paths that you’d least expect.

Larry is one of the most influential bass players in the United States, having taught countless players during his years at New England Conservatory and other Boston academic institutions who are now in major orchestras or pursuing other successful musical endeavors.

We’re also featuring Jacob Druckman’s piece Valentine, one of the tracks from Larry’s solo album which was added upon the CD release and one which you’re really going to enjoy. Larry will be doing a presentation at this summer’s International Society of Bassists convention, which I am definitely looking forward to checking out. Be sure to check out Larry’s website as well!

Double bassist and Contrabass Conversations co-host John Grillo recently recorded in the first of a new series of audio programs about the past, present, and future of the professional symphony orchestra. In this first episode, John interviews me about my book Road Warrior Without an Expense Account, which I hope you’ll find interesting. I also recorded a screencast of my Keynote presentation about this book, which I did in Sioux Falls, South Dakota during the summer of 2008. I wrote the blog posts that this book is based upon in early 2007. Enjoy!

We’re featuring the Courante, Gavottes, and Gigue from the Sixth Cello Suite by J.S. Bach on Eclectic Bass this week, played impeccably by the wonderful bassist Ben Jensen, currently a student of Bruce Bransby at Indiana University. These were recorded live in a master class at Indiana University and are an outstanding example of bass playing. Enjoy!

We’ve featured Indiana University double bass professor Lawrence Hurst on Contrabass Conversations previously–if you haven’t checked out this interview before, I’d encourage you to check it out. Indiana University has an established reputation as one of the premier institutions for top-notch double bassists to perfect their craft, and if Ben’s example is any indication of the talents of the younger generation of bassists, we’re in good hands indeed!

We’re featuring music from the engaging and unusual band Habersashery on Eclectic Bass, the all-music episode series from Contrabass Conversations. We’ll be playing three tracks from their new album Illuminated Road, which you can learn more about on their website. Enjoy!

Tracks featured:

-Toys
- Sunset Cowboy
- Not Here

We’re featuring the complete recording of our interview with Metropolitan Opera Orchestra Assistant Principal Bass Jeremy McCoy on this week’s Contrabass Conversations episode. Jeremy attended the Curtis Institute and was a member of the National Arts Centre Orchestra of Canada prior to his appointment with the Metropolitan Opera Orchestra. Jeremy and I discuss a wide variety of topics, including his early experiences on the instrument, life in the Met, thoughts on teaching, recording a solo album, and much more. We also feature excerpts from Jeremy’s solo album Dialogues with Double Bass.

link to Jeremy’s website

link to Jeremy’s Manhattan School of Music page

link to Jeremy’s album Dialogues with Double Bass

We’re featuring an interview with double bassist Mark Morton, who is currently professor of bass at Texas Tech University in Lubbock, TX and has also served as Principal Bass of the Columbus Symphony. Mark was the first prize winner at the International Society of Bassists Solo Competition, and he was the assistant double bass instructor for Gary Karr at the Hartt School of Music. He is well-known for writing and publishing the “Dr. Morton” series of books on the art of bass playing, and he is the founder of the American School of Double Bass.

We’re also featuring a track from Haberdashery titled “Malbec” – learn more about this ensemble online at haberdasherymusic.com.

Links: American School of Double Bass, Trios for Deep Voices, Texas Tech School of Music

Larry is one of the most influential bass players in the United States, having taught countless players during his years at New England Conservatory and other Boston academic institutions who are now in major orchestras or pursuing other successful musical endeavors.

We’re also featuring the Gliere Scherzo and Koussevitzky Valse Miniature from Larry’s solo album, both of which you’re really going to enjoy. Larry will be doing a presentation at this summer’s International Society of Bassists convention, which I am definitely looking forward to checking out. Be sure to check out Larry’s website (which he is in the process of revamping – listen to the interview to learn more about this), and stay tuned for tour final segment of this interview very soon!

In this second segment of our interview with Max, we cover the use of rhythms in practicing solo and orchestral music, why he finds warm-up exercises useful, standing versus sitting, and audition preparation advice.

Max’s Warm-Ups

Max Dimoff Warm-Up Packet (PDF)

In addition to serving as Principal Bass with the Cleveland Orchestra, Max is on faculty at the Cleveland Institute of Music along with Jeff Bradetich, his former teacher from Northwestern University. Max and Jeff team teach the CIM bass studio in a very interesting arrangement which we discuss during our interview.

Max’s colleague Jeff Bradetich recently appeared on Contrabass Conversations as well. Here are links both to Jeff’s interview and to Jeff’s own technique packets, which may be interesting to delve into for listeners as well:

• Jeff Bradetich interview part 1
• Jeff Bradetich interview part 2
• Bradetich Technique Packet
• Bradetich Advanced Technique Packet

More interviews co-hosted by John Grillo:

• Lawrence Hurst – Indiana University
• Barrie Kolstein – Kolstein & Sons
• Jack Budrow – Michigan State
• Owen Lee – Cincinnati Symphony
• Ranaan Meyer – Time for Three
• Dan Krekeler – Metropolitan Opera

Links:

• I Fight Dragons (music heard on this show)
• Jim Goodrich – my co-panelist for the Chicago Music Commission
• International Society of Bassists – convention in June!
• String Emporium – advertiser
• Upton Bass Co. – advertiser

Video Download Link (133 MB)

CONCERT INFORMATION

Summer Orchestra: Unfinished Symphonies

Tuesday, July 29, 7:30 p.m.
Pick-Staiger Concert Hall, Northwestern University, Evanston, IL
Dr. Robert G. Hasty, conductor; Phillip Serna, double bass

Concerto for Double Bass and Orchestra (1948) Eduard Tubin
Allegro con moto (1905-1982)
Allegro non troppo
Andante sostenuto
Cadenza
Allegro non troppo, poco marciale

Phillip W. Serna, double bass

PERFORMER BIOS

Dr. Phillip W. Serna is instructor of double bass & viola da gamba at Valparaiso University, director of the Music Institute of Chicago Early Music Departments viola da gamba education and outreach program ‘Viols in Our Schools,’ and maintains an active teaching studio in the greater Chicago area. He is an in-demand adjudicator and clinician in the Midwest on double bass and viola da gamba and has appeared as double bass faculty at the Whitewater Winter Bassfest, as viola da gamba faculty at the Music on the Mountain Winter Workshop, Whitewater Early Music Festival and as Ad Hoc Consort Coordinator at the Viola da Gamba Society’s Summer Conclave.
Dr. Serna is an active and enthusiastic performer of early music, as well as the contemporary, solo, orchestral, and chamber repertoires. He earned his Bachelor of Music studying with San Francisco Symphony member Stephen Tramontozzi at the San Francisco Conservatory of Music in 1998. He later completed his Master of Music & Doctor of Music degrees at Northwestern University School of Music in 2001 and 2007, respectively. At Northwestern University, he studied double bass with Chicago Symphony Orchestra member Michael Hovnanian and international soloist DaXun Zhang. Additionally, he studied viola da gamba with Newberry Consort founder Mary Springfels. His doctoral project, ‘Original Crossover? Popular Ballad-Tunes as Art-Music for Viols in Seventeenth-Century England’ focused on solo and ensemble settings of ballad-tunes for viola da gamba as well as lyra viol transcriptions for double bass.
On double bass, Dr. Serna has performed under the baton of conductors such as Daniel Barenboim, Pierre Boulez, Christoph Eschenbach, Neeme Jarvi and David Robertson as a member of Chicago Symphony Orchestra’s Civic Orchestra of Chicago. He has performed with other orchestras including the Southwest Michigan Symphony Orchestra, Illinois Philharmonic Orchestra, Northbrook Symphony Orchestra, Illinois Symphony Orchestra, New Philharmonic Orchestra, Wisconsin Chamber Orchestra, Memphis Symphony Orchestra, and many others. In his role as an Early Music specialist, Dr. Serna regularly performs on violas da gamba (treble viol, tenor viol and bass viol), period double bass/ violone and viellewith period instrument ensembles as the Chicago Early Music Consort, the Newberry Consort, the Spirit of Gambo – a Chicago Consort ofViols, Ars Antigua, the Oriana Singers, the Second City Musick, the Third Coast Viols and many others. Dr. Serna was a recipient of a Viola da Gamba Society of A
merica Grant-in-Aid to Young Artists, and was a featured soloist at the Gamba Gamut, a concert hosted by the Viola da Gamba Society of America at the 2007 Boston Early Music Festival.
In 2007, Dr. Serna’s article ‘Early Strings in the Classroom/ Introducing Students to Renaissance and Baroque String Repertoire on Period Instruments’ on classroom outreach advocacy was published in the American String Teachers Association String Teacher’s Cookbook – Creative Recipes for a Successful Program. He has contributed articles to the Bass World – the Official Magazine of the International Society of Bassists, the American String Teacher, Illinois ASTA’s the Scroll, and is an active contributor to the Arts Addict Blog, the Contrabass Conversations podcast and the online bass resource www.DoubleBassblog.org. In Early Music publications, Dr. Serna is outreach editor for the Viola da Gamba News, where he has edited and written numerous articles, and has contributed to Early Music America magazine. An active podcaster in his own right, he produces the ‘Viols in Our Schools’ video podcast brings high-quality performances of music for viols to the larger internet commun
ity at www.ViolsinOurSchools.org & www.theGambaCast.org.
Dr. Serna is a member of the International Society of Bassists (ISB), the American String Teachers Association (ASTA), Early Music America (EMA), the Society for Seventeenth-Century Music (SSCM) and is president of the Viola da Gamba Society Third Coast, the Chicago chapter of the Viola da Gamba Society of America (VdGSA). He lives in Plainfield, IL with his best friend and wife, Magdalena along with their daughter Natalia. For more information on Dr. Serna, please visitwww.PhillipWSerna.com.

Robert G. Hasty, DMus, Northwestern University, Senior Lecturer, Conducting and Ensembles
Associate director of orchestras. Conductor, Chamber Orchestra, Philharmonia, and Summer Orchestra. Teacher of graduate and undergraduate conducting courses. Teacher, adjudicator, clinician, violinist. Music Director, Merit Symphony Orchestra, Chicago, IL. Conductor, National High School Music Institute Orchestra. Former conductor, La Primavera Orchestra, Irvine Youth Symphony, Metropolis Youth Symphony. Former vice president of string education, Southern California School Band and Orchestra Association. Music researcher investigating critical listening while conducting; presented at the international meeting of the European Society for Cognitive Sciences of Music. Studied conducting with Victor Yampolsky and violin with Alice Schoenfeld.

PROGRAM NOTES

Concerto for Double Bass and Orchestra (1948) Eduard Tubin

Eduard Tubin, an Estonian composer and conductor, completed his Concerto for Double Bass and Orchestra on the 31st of May 1948, with its orchestral premiere performance in Bogotá on the 8th of March 1957. Tubin studied composition under Eller at the Tartu Academy (1924-1930) and later went on to conduct the Vanemuine Theatre Orchestra (1930-44). With a keen interest in the new music, he conducted Stravinsky’s Symphony of Psalms in Tallinn in 1936, and two years following met Kodály in Budapest where he became acquainted with Bartók’s work. In 1944 he moved to Sweden, where he composed this concerto. Tubin was naturalized as a Swedish citizen in 1961 and was elected to the Royal Swedish Academy of Music in 1982.
In addition to his concerto for double bass, he composed two concerti for violin, a concerto for balalaika, and a concertino for piano with orchestral accompaniment. In other genres, he composed sonatas for violin, viola, flute, and saxophone. Additionally, Tubin composed choral music, a requiem, songs, solo piano music, ballets, and symphonies. At the time of his death, he was in the process of composing his 11th Symphony.
The Concerto for Double Bass and Orchestra is continuous, with no breaks between movements. Several of the movements are separated by a sequence of orchestral interludes. The opening Allegro con moto begins with an energetic theme accompanied by jazz-like rhythms in the accompaniment. The following Allegro non troppo is calmer and more lyrical, in which the soloist presents a theme that will later be developed in the accompaniment. The role of the soloist moves between being the prominent line to accompanying melodic fragments in the winds. This interplay creates a sense of tension culminating in a dramatic climax of brilliant triads. The Andante sostenuto is built upon a broadly developed melody over a rich harmonic cushion in the accompaniment. When this melody appears for a second time, it is accompanied by syncopated figures creating a sense of further motion. Listen for this cantabile melodic material in the closing movement with the soloist accompanying the wind soloists. Becoming ever more agitated, the tension in the slow movement increases in tension with a crescendo towards a dramatic Cadenza, developing a number of harmonic and rhythmic motives from the previous movements. The cadenza bridges the gap between the slow movement and the final Allegro non troppo, poco marciale. The finale begins, tentatively at first, with the soloist taking up the orchestra’s thematic material. As well as presenting material from all of the previous movements, the finale increases in dramatic tension towards a mighty and majestic climax and coda.

- Program Notes by Phillip W. Serna, July 2003

Special thanks to Conductor Robert Hasty & Pick-Staiger Concert Hall Director of Concerts Richard van Kleeck at Northwestern University’s School of Music for their permission of use for Contrabass Conversations and the Double Bass Blog. Also, sincerest thanks to Peo Nylén of Scandinavian Songs AB for their assistance in licensing the work for internet distribution.

For more information on Phillip W. Serna, visit http://www.phillipwserna.com/
For more information on the Northwestern University School of Music and Pick-Staiger Concert Hall at http://www.music.northwestern.edu/ & http://www.pickstaiger.org/
For more information on Eduard Tubin, visit the International Eduard Tubin Society at http://www.tubinsociety.com/. To rent the music for Tubin’s Concerto for Double Bass and Orchestra in the United States, visit Bossey & Hawkes Music Publishers at http://www.boosey.com/. For licensing information, please visit Scandinavian Songs AB at http://www.scandinavian-songs.se/

CREDITS 2003 – NORTHWESTERN UNIVERSITY

ASSOCIATE DIRECTOR OF ORCHESTRAS
Robert G.Hasty
Northwestern University Chamber Orchestra, Summer Orchestra, University Philharmonia

SUMMER ADMINISTRATOR OF ORCHESTRAS
Phillip W. Serna

SUMMER ORCHESTRA ASSISTANT
Audrey Thompson

ORCHESTRA PERSONNEL

FLUTE
Peggy Stetsko
Shanna Gutierrez
Steven Haschke

OBOE
Allysa Jeris
James Carney
Pavel Murunov

CLARINET
Alex Jones
Karen Kriege

BASSOON
Patricia Milsted
Ann Dufek
Julie Olson

HORN
Lyndsey McKay
Marc Gelfo
Richard Shubart
David Steinhorn

TRUMPET
Audri L. Nelson
Sarah Chumney
Gilbert Galindo

TROMBONE
Rich Chisholm
Alexis Miller
Robert Ruszkowski

TUBA
Tim Willson

HARP
Tahlia Anderson

PERCUSSION
Sarah Hatch
Andrew Barnish

VIOLIN I
Brandon Brown, concertmaster
Eugene Gekhter
Rick Eskin
Kate Segerdell
Debbie Dalgren
Leslie Schwartz
Salina Norman
Kay Black
Steve Cisar
Katie Thome
Skyler Silvertrust
Teng-Leong Chew
Wayne Xia

VIOLIN II
Yun Kim, principal
Lisa Bohnert
Melitta George
Peter Finnegan
Siegfried Moysisch
Lisa Michener
Xavier Kimble
Jon Ong
Audrey Thompson
Merry Marwig
Elise Olson
Sonia Kharkar
Joyce Sato-Reinhold

VIOLA
Clark Carruth, principal
Becca Pascal
Sonya White
Rebecca Susan
Alex Weaver
Mark Liu
Laura Altschuler
Jessica Duncan
Elizabeth Cohen
Ellen McGrew
Katy Dane
Ted Ballou
Jason Haberman

CELLO
Julia Liu, principal
Galen Cohen
Treble Cierpke
Ruth Rozen
Clark Sheldon
Sarah Chelgren
Andrew Hood
Shaina Michael
Jennifer Campbell

DOUBLE BASS
Phillip W. Serna, principal
Mike Watson
Abel Rodriguez
Geoffrey Dommett
Scott Kieffer
Harvey Wigdor
Tim Willson