DAN STYFFE: interview

Maestro, first of all I wish he took away a curiosity: with his great qualities as a musician why did  you chose an instrument which is as noble as the double bass?

I was really first a rock and jazz musician playing electric bass.
I had played violin as a child but it did not really fit me - not the right sound or colour for my personality.
I had a fantastic double bass teacher in Sweden , Göran Nyberg. After studying the bass a few months with him I knew this  was "my " instrument.
It is mainly the singing qualities of the bass that attracted me - reminded me of the human voice.
 
2 -Maestro, you have studied with three great bass players of the world: Nyberg, Guettler and Gary Karr. What have you learned from each of these?
Nyberg taught me to love the instrument.
Güettler focused on technical control.
Karr helped me find my "own sound " and to open up musically.
 
3 -I noticed that you play with the French bow. Why this choice? Is it better than the Dragonetti’s bow?
It was mainly, that in Sweden and Norway most bassists played French bow.
Today I teach both. Some things might be easier on French some on German bow but I dont think there is a big difference. Both can be used the same way with the same result.
It´s  mostly a personal choice.
 
4 -You have a beautiful sound, powerful and mellow. Merit School of Karr or your bass Gasparo da Salò in 1585? How do you feel in playing one of the most important double bass in the world?
At first it was quite scary playing this Gasparo with its old fantastic history. Especially to travel with it !!! I was pretty overwhelmed
Up until then I had really only played modern instruments.

Karr did help me a lot with developing my sound.
The Gasparo took me one step further.
I  feel that I still develop a lot as a musician by playing this bass.
There are sounds and colours in there that I have never been able to produce before.
I am still looking , learning and finding new things. Very exciting. The resonans in that bass is so long that I can do things on it that I have never been able to on any other bass before.
But it has to be played the way it wants - I can´t really force it to do something it does not like.

5 -You love playing contemporary music that many composers wrote especially for you. How did this passion born?
It has grown in to a passion of mine.
I have been working with many composers and they have tried their ideas on me and my bass. They have discovered what works and what doesnt.  They have gotten new ideas also just from hearing the sound of the Gasparo.
It has developed them as composers and me as musician.

6 -In your opinion, what is the main difference between your music and that of the great bass players like Stefano Scodanibbio or Ferdinando Grillo?
At the moment I beleive  I am more focused on sound and colour.
For me the personal sound a musician produces with his or hers instrument is the most significant mark on a persons playing.

But I love and also play their music and I admire what they have done for our instrument !!
They were also composers , I am not. They created their own music , I interpret other peoples music even if it is often written for me.
 
7 -I like a lot Martinsson’s Concerto written for you. Which are the main difficulties and can it be considered the “Koussevitzky” Concerto of nowadays?!?
I  beleive the Martinsson Concerto might become "Our times Koussevitsky ".
Other people are playing it already.

The  most difficult part of  that Concerto is that it is very heavy and static to play. It lasts 30 minutes and long parts ligh in very high positions.
Even if there are very technical challenges the  cantability and sound production is most important.

8 -Do you think in “your” contemporary music there is a “ musical line” similar do the one of Bottesini? Why should the students prepare themselves also in this so difficult music?
Most of the pieces I play are based on traditional bass technique. When I comission new pieces I ask the composers if the can write also melodic , singing music for me.
I beleive its very rewarding for students to study and play these pieces.
It developes them technically, musically and develops also their sound !! It developes their musical understanding, also of  "older" music.

Maestro, one suggestment for student: what is important to study  today for not remaining out of the great world of music, expecially in the world of the classical double bass?
I encourage my students to mix contemporary pieces with more traditional repertoire in their
recitals. I also think that is very nice for the audience.
 

Maestro, what do you study today for having a so brilliant technique? Studies, Scales, Aperggios and so on.

9 - I think it is very important for all musicians , students and professionals, to be curious and inquisitive. To seek new music, new ideas , new techniques. To combine all this with the great pieces  of former times. For me that is not opposites but different parts of the same musikal scale,

 I beleive it is important for everyone to do technical studies , scales etc. They are the fastest and shortest  way to develop and to stay in good playing shape.

10- Last question: You are considered one of the most famous double bass player in all the world. Which are your main works for your future (Cds, Concerts and so on)?
I have many plans for the future. I am working with new Composers like Norwegian Marcus Paus.
Swedish composer Christian Lindberg wants to compose a new Concerto for me. I have to fond founding for that.
I have just recorded a violin / bass duo with violinist  Dora Schwarzberg composed by Jorge Bosso.
In February I will record a  CD with music by French bassist, composer and conductor Bernard Salles. And later many more recording plans - Nordheim , Lutoslawski, Sallinen.
I also really enjoy playing Chamber Music with fellow musicians - with old friends and making new friends.
I also find teaching very important and spends quite a lot of time doing that.
 
vito liuzzi

Maestro STYFFE Cds

DAN STYFFE:

 

www.danstyffe.com

THOMAS MARTIN says:

"We all must thank you, Dear Vito, for your tireless work for all of us bassists!"  You are doing so much for your colleagues and your art.

prof.dr. Vito Domenico Liuzzi "Doctor of Law" -"Magna cum Laude"

dr. Vito Liuzzi
dr. Vito Liuzzi

TRANSLATOR

"A TRIBUTE TO TEPPO" - Teppo Hauta-aho "THE KING" by Nbbrecords

DAN STYFFE "Octophonia" NEW CD

THIERRY BARBE'

CATALIN ROTARU or "The PAGANINI of the DOUBLE BASS"

MAURICIO ANNUNZIATA & his New Three Concertos for doublebass (free download)

Click on the image for the free download
Click on the image for the free download

MARCOS MACHADO & His New Book (VOL.1) for The Left Hand. HR!

SPERGER DUO - "Sonatas for Double Bass and Piano" with PILIP JARO & Xénia Jarovà

GOLDBERG VARIATIONS

PINO ETTORRE

LEON BOSH

BOTTESINI

ALBERTO BOCINI

DAN STYFFE

DAXUN ZHANG

NICHOLAS BAYLEY

MARCOS MACHADO

METAMORFORA
METAMORFORA

JOEL QUARRINGTON

Garden Scene
Garden Scene

ORAZIO FERRARI

MICHAEL WOLF

MICHAEL WOLF BOOK, if you like click on to Schott Edition
MICHAEL WOLF BOOK, if you like click on to Schott Edition

 

PIERMARIO MURELLI

PIERMARIO MURELLI - "Nuova didattica per contrabbasso " Ed. RICORDI

ALFREDO TREBBI

ALFREDO TREBBI - Novissimo manuale semiserio per contrabbasso (click on the picture above to read more)
ALFREDO TREBBI - Novissimo manuale semiserio per contrabbasso (click on the picture above to read more)

RICCARDO CROTTI

GEIRD REINKE

BOGUSLAW FURTOK

SILVIO DALLA TORRE

ENRICO FAGONE

IRINA KALINA GOUDEVA

MICHAEL KLINGHOFFER

OVIDIU BADILA

ALFRED PLANIAVSKY

MAURIZIO TURRIZIANI

THE BASS GANG

Thomas Martin & Timothy Cobb

SILVIA MATTEI

HR
HR

THE BASS SONORITY

THE BASS SONORITY: Vito Liuzzi, Michele Cellaro, Vincenzo Chiapperini, Leonardo Presicci, Giuseppe Lillo, Giovanni Rinaldi
THE BASS SONORITY: Vito Liuzzi, Michele Cellaro, Vincenzo Chiapperini, Leonardo Presicci, Giuseppe Lillo, Giovanni Rinaldi

DONOVAN STOKES

STEFANO SCODANIBBIO

Dead in Macerata at 55 years old

CATALIN ROTARU

FEDERICO BAGNASCO

CLICK ON THE PHOTO TO BUY
CLICK ON THE PHOTO TO BUY

ALFREDO TREBBI

Lo Zen e l' arte di imparare uno strumento
High Recommended

THOMAS MARTIN & his "Requiem" by Bottesini

PAOLO BENELLI

Dragonetti: Solos for double bass

by PAOLO BENELLI for CARISCH
by PAOLO BENELLI for CARISCH

FEDERICO BAGNASCO

Cd

MICHELE VERONESE

CATALIN ROTARU

Cd/DVD

PAOLO BENELLI

World Premiere!

FRANCESCO FRAIOLI

DAN STYFFE

"Portraits for friends" by BERNARD SALLES

BASSIONE AMOROSA

IRINA-KALINA GOUDEVA

"Recomenzar El Infinito"

Mr. PETRU IUGA "invention" !!!

Vito Liuzzi !!

Rino Liuzzi in STUDIOS

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