The Double Bass

Editorial Reviews

All Music Guide - Mike D. Brownell
The first three works on The Double Bass: Robert Oppelt & Friends lean quite heavily toward showcasing the "friends" more than the double bass. Even Oppelt's own work, the "Pas de Deux for flute and double bass," seems more about the flute than his own instrument. The Debussy "Danses sacr?e et profane" uses the double bass in a purely accompanimental fashion. The remaining three works on the program are quite different, putting the double bass squarely in the spotlight. Dragonetti's "Six Waltzes for solo double bass" allow listeners to experience precisely what the instrument is capable of without competing instruments. Where one bass is good, four basses are even ...
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Editorial Reviews

All Music Guide - Mike D. Brownell
The first three works on The Double Bass: Robert Oppelt & Friends lean quite heavily toward showcasing the "friends" more than the double bass. Even Oppelt's own work, the "Pas de Deux for flute and double bass," seems more about the flute than his own instrument. The Debussy "Danses sacrée et profane" uses the double bass in a purely accompanimental fashion. The remaining three works on the program are quite different, putting the double bass squarely in the spotlight. Dragonetti's "Six Waltzes for solo double bass" allow listeners to experience precisely what the instrument is capable of without competing instruments. Where one bass is good, four basses are even better, at least in Gunther Schuller's magnificent "Quartet for Double Basses," a twelve-tone work that truly demonstrates the incredible range and sonorous possibilities that can be achieved with a quartet of double basses. The album ends with another strong work, Barnett's "Serenade for double bass, harp, and string quartet." True to its name, the bass is consistently in the forefront of this highly interactive composition. As for Oppelt's playing, there are definite ups and downs. As an accomplished orchestral musician, his left hand is wonderfully precise with nary a hint of intonation problems. His right hand is also quite precise and articulate. The problem arises with Oppelt's instrument itself. The liner notes describe it as his orchestra bass, an eighteenth century Italian instrument. Regrettably, even the finest orchestral bass does not necessarily work well as a solo instrument, and Oppelt's instrument definitely does not produce a soloistic sound. In all but the highest registers, it is quite unfocused and overly resonate for the more virtuosic demands made by the solo repertoire.
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Product Details

  • Release Date: 3/13/2007
  • Label: Msr Classics
  • UPC: 681585122129
  • Catalog Number: 1221
  • Sales rank: 154,639

Tracks

Disc 1
  1. 1–3 Duo for cello and double bass in D major - Gioachino Rossini & David Hardy (12:26)
  2. 2 Pas de Deux, for flute & double bass - Robert Oppelt & Robert Oppelt (3:48)
  3. 3 Danses sacrée et profane, for chromatic harp & string orchestra, L. 103 - Claude Debussy & Elisabeth Adkins (10:33)
  4. 4 Waltzes (12), for double bass: Waltz 1. Vivace - Domenico Dragonetti & Robert Oppelt (1:49)
  5. 5 Waltzes (12), for double bass: Waltz 2. Presto - Domenico Dragonetti & Robert Oppelt (1:49)
  6. 6 Waltzes (12), for double bass: Waltz 3. Vivace - Domenico Dragonetti & Robert Oppelt (1:56)
  7. 7 Waltzes (12), for double bass: Waltz 4. Allegro - Domenico Dragonetti & Robert Oppelt (2:32)
  8. 8 Waltzes (12), for double bass: Waltz 5. Vivace - Domenico Dragonetti & Robert Oppelt (2:38)
  9. 9 Waltzes (12), for double bass: Waltz 6. Vivace - Domenico Dragonetti & Robert Oppelt (1:57)
  10. 12–14 Quartet for double basses - Gunther Schuller & Robert Oppelt (15:17)
  11. 15–17 Serenade, for double bass, harp & string quartet - Elisabeth Adkins & Charlie Barnett (14:47)
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Album Credits

Performance Credits
Robert Oppelt Primary Artist
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