Biographical Information

Miloslav Gajdos, (1948-), regarded by many as one of the world's leading double bass virtuosos and pedagogues, is Professor of Double Bass at the P. J. Vejvanovsky Conservatory, in Kromeriz, Czech Republic. Upon joining the faculty in 1973, he developed a unique teaching method which effectively aids students to become masters of the instrument. This is evidenced by the large proportion of his students that have continued to become professional orchestral musicians, soloists, and professors at other conservatories, universities, and academies. His approach to the double bass is influenced not only from his years as a violinist and organist, but, ultimately, a desire to elevate double bass technique and expressiveness. In addition to being an accomplished and respected performer, Mr. Gajdos, (Guy'-dõsh), has composed many solo and ensemble works, compiled an extensive and organized course of study, and has authored numerous articles and books concerning the playing and heritage of the double bass.

Introduction

Anyone who has ever studied the double bass in America has come across the name Frantisek Simandl (1840-1912), a key figure in the lineage of Czech double bass professors dating back to Václav House, (1764-1847). Today, The Simandl Method is the single most widely used double bass method in the United States and throughout much of the world. Further study of the literature of the bass reveals more of these unfamiliar sounding Czech surnames, (includingSlama, Hrabe, Cerný, and others), yet detailed background on these influential musicians is often scarce, if not completely unavailable.

Examples of this pervasive Czech influence are evidenced in the predominance of Czech bassists from the early years of the Chicago Symphony Orchestra into the 1950's, and by the fact that the founder of what would become the Juilliard School of Music, (New York), was none other than Antonin Dvorák, a native Czech. Dvorák subsequently hired Ludwig Manoly, pupil of Simandl, as the school's first double bass professor. This lineage has contributed to the high standard of professional orchestral bass playing in the U.S. today.

The 1996 Chicago Artists International Program residency award that sent me to the Czech Republic firmly convinced me that Czech culture fosters a fertile environment for the appreciation of the double bass, whether through performance, or simply in literature and methodology. Since that first visit, I have been fortunate enough to continue witnessing recitals, seminars, private lessons, and to exchange views and perform with Miloslav Gajdos. What I discovered is a clearly defined approach to teaching and playing the bass yielding quality results that are gratifying even for those with the most basic of playing ability.

The P. J. Vejvanovsky Conservatory in Kromeriz, Czech Republic, is especially well-suited to the training of double bassists and Professor Gajdos' years of teaching and performing experience enable him to clearly convey the values, priorities, and techniques that have been passed on to him. He continues today the distinguished tradition with his own enormous contributions to the double bass repertoire and pedagogy, exemplified in the compositions in this volume.

Continued international exchange activities generously supported by leading professionals, educators, institutions, and businesses have expanded the sphere of Gajdos' influence. Recent American activities include appearances at the 1997 International Society of Bassists convention, the Juilliard School, and the Rocky Mountain Double Bass Symposium. A 1997 Chicago Artists International Program residency award brought Mr. Gajdos and three pupils to Chicago to join me and my pupils for a series of collaborative performances and workshops. He made a lasting impression upon all of those who encountered him and many were inspired to artistic accomplishments previously unimagined.

We are witnessing nothing less than the modern-day evolution of the double bass, free from restraints due to World War II and the ensuing political tensions of the "Cold War" years. The publication of this collection of works by Miloslav Gajdos provides a significant contribution to the development of the double bass, in the way that it is played, taught, and ultimately perceived.

Greg Sarchet
Chicago, November 1998

1996 and 1998 Chicago Artists International Program Award recipient
Double Bassist with Lyric Opera of Chicago, Chicago Chamber Orchestra

Composer Comments

The Solos and Capriccios included in this volume are just one collection of compositions which give new technical and expressive possibilities to double bass playing. It is my experience that our bass literature lacks many compositions featuring doublestops and polyphonic techniques. These works came into being to fill that void.

Solo in D (1975), combines accompanied homophony with polyphony and harmonics in doublestops. This composition has some technical priorities and belongs together with my other compositions, The Doublebass Player's Dream and Capriccio No.3 (Paganiniana),and may be considered among the most difficult compositions in the entire double bass literature. The original version demands four-finger techniques, while this arrangement for more common technique was made in 1993. Similarly, Solo in C (1977), is written in an effort to test polyphonic playing possibilities in a tonality where an open string is not the basic tone.

Capriccio No.1 (1978) was influenced by violin techniques. The fast sections develop the double bassist's ability to coordinate motions in the left and right hands in as fast a tempo as possible. The middle section again combines doublestops, chords, and connecting passages.

If all of these solos and capriccios are written in classical harmonies, then the Reflections No.1-4 (1981)are the exception. The free harmony and lively rhythms make it possible to allow for deeply tragic and lyric impressions with typical double bass techniques.

After Three dances, Capriccio No.2, and other worksin the 1980's, came Capriccio No.3 (1990) in "Paganini style". The techniques of high harmonics in doublestops and expression in the middle section are quite unique. This capriccio is dedicated to the promising doublebassist Jiri Valicek.

Solo No.5 (1992) is, in fact, one big technical study in the style of Jindra Piácek, (1908-present), designed to acquire finger independence, orientation, (by the change of positions), and left hand security and strength.

In Solo No.6 (1994), the introduction is dominated by double-stop technique which brings out both the melody and bass. The middle section features rhythmic passages, a variation, and the composition ends with a coda. The first performance was by Zi-ping Chen from China.

On occasion, I have been asked to write a required composition for double bass competitions. Capriccio No.4 writtenfor the 1995 Frantiöek Gregora International Double Bass Competition held in Kromeriz, Czech Republic. Capriccio No.5, the required work for the 1996 Rocky Mountain Double Bass Symposium Solo Competition, (Boulder, Colorado), is not as difficult as Capriccio No.4 yet it is virtuosic enough.

My wishes are that those who explore these compositions may find great satisfaction and inspiration within them, and this in turn, will give me great pleasure.

Miloslav Gajdos
Kromeriz, November 1998

Travelogue

Bass Club Chicago

Bass Club Kromeriz