Neil Courtney at Abington
PHOTO COURTESY OF THE MUSICIAN

Why the double bass? Why not another musical instrument?

It was an accident. I was eleven years old when I first came across the bass, but I learned to love it. I started on piano and took lessons for twelve years, but the bass was so much more “social” that I decided to stick with it.

Accident?

Nothing unusual here. Whenever a school orchestra leader has positions (that) he needs (to be) filled, he generally will pawn off an instrument on an eager child (who is) easily convinced he or she is just right for a bassoon, viola, trumpet, or double bass. I got the bass but grew to like it.

What is difficult about the bass?

Two of the most difficult things about playing the bass have to do with the physical properties of the instrument. The string length is such that the intervals are rather far apart. What we call shifting involves moving the hand very rapidly across considerable distances, landing on the precise spot for the intonation to be perfect. Anything less is immediately apparent.

The other aspect is the thickness of the strings. This creates the problem of starting the notes cleanly, especially in rapid passages. It takes a certain type of delicate strength to keep away from scratching attacks.

Other than these two problems, there is of course the challenge of developing a personal sound (and touch) that works well for personal expression.

Do you have a preference of musical repertoire that speaks most to your own sensibilities?

Of course I have favorites. I find the slow movement of Ravel’s Piano Concerto to be so beautiful that it’s almost painful. Igor Stravinsky’s Rite of Spring (Le Sacre du printemps) is so intellectually and emotionally energizing I can barely stay in my chair. At other times, the Beethoven Symphonies are so profound they are like impenetrable mysteries. Sometimes it’s all great.

Is music elusive after all?

A lot of music was written for a defined purpose and as such is not terribly elusive — military marches, some film music, music to promote advertising, etc. However, the term “elusive” almost defines the music that will always stay fascinating and enriching.

How do you switch gears from performing to composing?

My interest in composing began in theory class. I was intrigued with the assignments calling for any kind of creativity. I was quite pleased with myself when I would play over an assignment and think, I wrote that. I also began writing songs for my first wife who was a singer.

As for switching gears, it’s really not easy, which is one reason why it takes me so long to finish a piece. First, I must clear my head of the music I have been performing. Depending on the composer this sometimes takes a while. Mahler or Sibelius stays in my memory for a long time and comes unbidden when I least expect it. Clearly I have to have as much of an uncluttered sound in my head as possible in order to find my own voice.