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Buell Neidlinger | Basso Profundo

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Classical: New Music Ensemble Avant Garde: Classical Avant-Garde Moods: Featuring Bass
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Basso Profundo

by Buell Neidlinger

The legendary bassist performs six world premiere solo bass works by Rosenman, Ceely, Xenakis and Kagel from 1960-1983.
Genre: Classical: New Music Ensemble
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  Song Share Time Download
1. Sensitivo: No. 7 Dai 7 Fogli (Versione per Contrabasso)
Buell Neidlinger & John Bergamo
5:22 $0.99
2. Bass Concerto Chamber Music 4
Buell Neidlinger
15:35 $0.99
3. Hymn
Buell Neidlinger & Fred Sherry
6:05 $0.99
4. Morsima-Amorsima
Buell Neidlinger, Peter Serkin, Fred Sherry & Ida Kavafian
14:05 $0.99
5. Logs
Buell Neidlinger & Don Palma
4:16 $0.99
6. Sonant
Buell Neidlinger, Stanley Silverman, Jan Williams & John Bergamo
10:44 $0.99
Downloads are available as MP3-320 files.


Album Notes
Born New York City March 2,1936. Studied cello with Luigi Silva, Gregor Piatigorsky,
and J. Dounis; bass with Walter Page, Georges Moleux and Robert
Brennand. Studied chamber music with Wolf Wolfinsohn, Richard
Burgin, Eugene Lehner. Fromm Fellow, Berkshire Music Center and
winner of the Albert Spalding String Prize. Former principal bass and
soloist, Los Angeles Chamber Orchestra (Sir Neville Marriner); former
Member Boston Symphony Orchestra (Erich Leinsdorf); American
Symphony (Leopold Stokowski); Houston Symphony (Sir John Barbirolli); soloist with the
London Symphony Orchestra (Marriner), Berkshire Music Center Orchestra (Schuller).
As a NYC freelance musician, Buell Neidlinger peformed as a charter member of the
Mostly Mozart Festival Orchestra, and in ensembles led by Stravinsky, Kletzki, Karl Richter, Horenstein, Schuller, Gil
Evans,Ornette Coleman, Cecil Taylor, and Frank Zappa.
Chamber music performances with the Budapest, Amadeus, Guarneri string quartets and TASHI; member of the
chamber ensembles of the Center for the Creative and Performing Arts (Lukas Foss), Ojai Festival, Monday Evening
Concerts, and Chamber Music/LA Festival. Former faculty, Henry Street Settlement, New England Conservatory,
Tanglewood, California Institute of the Arts, University of Southern California, Aspen, and State University of New
York; member of the Living Theatre, and artist in residence at Harvard University. Master classes at Rotterdam
Conservatory, Eastman School of Music, International Society of Bassists.
This album is dedicated to Jane and Nick Neidlinger, and to the memories of my friends Lennie
and Mauricio ; and to Bob Brennand, my mentor and bass teacher, who taught me, among other
things, to count every beat of every bar. And a heartfelt thank you to the great American musician
Gunther Schuller, who never failed to appreciate my playing; as well as deep gratitude to Sir John
Barbirolli, Erich Leinsdorf, Leopold Stokowski, and Neville Marriner - for helping me along my way.

SENSITIVO(1959) (no7dai7fogli) versione per Contrabasso, for Buell Neidlinger by Sylvano Bussotti.
The world premiere performance of this version, recorded live 4.24.64 at the Albright Knox Gallery,
Buffalo, New York. Bussotti had given me a drawing, a titled graphic from which to whip up an improvisation.
But, rather than compose Sylvano’s music for him, I made a copy of the cello part for his string
quartet, “Il Nudo.” In the fashion of Ray Bremser or William Buroughs, I cut it up, and putting the pieces
together in a new order, created this piece. For this performance, at my request, an off-stage viola part
was improvised by John Bergamo. A few years later Bussotti wrote in DER RIEHE “The American musicians
John Bergamo and Buell Neidlinger could not drop pencils
without making music.”
for solo amplified bass, four string quartets, and tutti bass (Ed
Meares), was commissioned by Neville Marriner for me to play
with the Los Angeles Chamber Orchestra. This piece has been
carefully crafted in three movement to feature the solo bass and,
at the same time, have the solo part intentionally “fit into” the
ensemble as a whole. An immensely gifted concert music composer,
a student of Schoenberg, Sessions, and Dallapiccola,
Leonard had become, with his scores for Rebel Without a Cause
and East of Eden, the very successful avatar of the new wave of
1950s film music composers. In 1955 he wrote the very first certifiably atonal film score, for The Cobweb,
the material for which Lennie revisits in this Bass Concerto. In the midst of composing countless film and
television scores over the next four decades, Rosenman set about writing a highly successful series of
seven Chamber Musics, of which this is the fourth, and one of the two not withdrawn by the composer
before his death. Recorded at CalArts November 19,1976. From a program note by the composer-
“Chamber Music No. 4, written for and dedicated to Buell Neidlinger, who worked closely with me in
refining performance techniques used in the piece. Because the “spaces” between stops on the double
bass are so much wider than on all other string instruments, the opportunities for use of microtonal
devices are vast. In this piece, the microtonal aspects, utilizing sixth, third, and quarter tones in addition
to traditional harmonic devices are not ordered, or serialized in any overall scheme. Rather, they constitute
an enhancement of musically expressive resources by use of intonation and timbre. The string
ensemble is divided into four string quartets and one extra double bass. As the piece progresses, the
quartets assume greater individuality, though the solo double bass acts, for the most part, as a generator
in determining pitch and timbre. The extra double bass has two functions; one, of a general bass to the
ensemble, and the other of a “helper” to the soloist, assisting in double, triple and quadruple stops. It is
used in accenting certain notes of the solo double bass and generally supporting and filling out soloistic
HYMN by Robert Ceely. Fred Sherry and I recorded this on 8.28.75 at Vanguard Studios in Manhattan.
HYMN is a duet for cello and bass that thrives on a strangely convincing alternation of heightened, hypertense
"Schelomo"-like rhetoric with a severe note-against-note counterpoint almost of medieval stamp.
Mr. Ceely, who lived in Istanbul for two years, acknowledges the inspiration
of the muezzin. Find further information at ceelyinfo@ceelymusic.com
MORSIMA-AMORSIMA for violin, cello, bass, and piano, by Iannis Xenakis.
Recorded at CalArts and conducted by Dick Stoltzman,this is a rehearsal for a
TASHI tour, here played by Ida Kavafian, Fred Sherry, Peter Serkin, and me. I
had originally learned the piece in 1964 with Paul Zukofsky, Jay Humeston,
and George Crumb, for the premiere American performance conducted by
Lukas Foss at The Albright Knox Gallery in Buffalo. Composed in 1962,
Morsima-Amorsima had its premiere in Athens under Lukas’ direction. This
piece belongs to a class of compositions derived by Xenakis from a computer
program assembled for his work, ST/10. Based on Probability Theory, it is
a complex of instructions which order the computer to define in succession
all possible sounds of a calculated set: first the time of occurrence, then its timbre, instrument, glissando
gradient and finally the duration and dynamic of the sound. Writing about this work, Xenakis expressed
the idea that “today the calculus of probabilities, the theory of large numbers, together with the problems
of choice, of causality, of determinism, connect and clarify the
ancient idea of Fate.” On the TASHI tour we played this piece on the
same program with Schubert’s Trout Quintet.
LOGS FOR TWO BASES by Robert Ceely. Don and I recorded this
8.28.1975 at Vanguard Studio,NYC. Both LOGS and HYMN were commissioned
by me for my now infamous Jordan Hall recital, "An Evening
With Me", on January 7, 1970. The two double basses, designated as
Bass X (Buell-left channel) and Bass Y (Don-right channel) employ
different tunings. Bass X tunes its low E string to E flat while Bass Yemploys "solo tuning" so that the open strings are F#, B, E, and A. The piece is in seven short sections, alternating between slow and fast. The composition is virtuosic throughout and makes severe demands upon the soloists.
SONANT was directed and prepared by the composer, Mauricio Kagel. This American premiere
performance was recorded live on April 24,1964 at the Albright Knox Gallery, Buffalo, New York.
Stanley Silverman plays electric and acoustic guitars, I play bass, John Bergamo and Jan Williams play
percussion. The composition is very precisely notated, and the sounds of the music reflect, according to
Mauricio, his youth as a refugee from the Nazis in the Argentine Pampas. The last section is a wonderful
example of the musical style Kagel invented, which he called “Mimetics”– speaking about what’s being
played as you play it.
On this Recording:
Buell Neidlinger, Ed Meares,Don Palma:bass, Ida Kavafian: violin,
Peter Serkin:piano,Fred Sherry:cello,Stanley Silverman:acoustic and electric guitars,
Jan Williams and John Bergamo:percussion.



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