In a small room it does indeed soar, but in a capacious hall, when compared to a cheap, 3/4-size plywood bass, her instrument sounds half as loud. For example, a student of mine insists on playing a large, 7/8-size instrument, which she believes has a loud, projecting voice. As I have found in my own performances and listening to those of other players, this assumption does not stand up to scrutiny. Many conductors request that their double bass section players use large instruments because they incorrectly assume that these will produce a bigger, warmer and more projecting sound. Orchestral colleagues have said they too have never been consulted about matters concerning our instrument, so it seems that although the standard of double bass playing has risen exponentially during the past 50 years, conductors’ attitudes towards the instrument have barely changed. On many occasions I have felt obliged to put right a conductor’s incorrect instruction, but in my experience only two conductors, Gerard Schwarz and Otto Werner-Mueller, have ever asked me questions about double bass technique and how it applies to orchestral playing. During my 40 years of soloing with orchestras around the world, I have never ceased to be amazed by the lack of knowledge and respect demonstrated by some conductors towards the double bass, and by some of their demands of the double bass section.
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