Franz Simandl 1840-1912 Czech double-bassist and pedagogue most remembered for his book New Method for the Double Bass, which is today a standard study of double bass technique and hand positions. The Prague School of Double Bass dates back to the early 19th-century and its influence has reached every corner of the globe. Founded in 1811 there have been many significant Czech bassists who have made important contributions in its 200 years, none more so than Franz Simandl, whose influence and impact is still felt a century after his death. Born in Blatná (Bohemia) 1840, at the age of eleven he studied with Josef Martinovský. Martinovský taught Simandl to sing and play the violin and it was also thanks to his teaching skills that the young Simandl managed to secure a place at the Prague Conservatoire. When he left there in July 1860 he had not only a graduation certificate signed by Professor Josef Hrabe, but also examination results for military Kapelle playing. He went on to spend eight years playing under Stastný, and the elder Komzák, in the Kapelle of the 11th Infantry Regiment stationed successively in Písek, Vincenza, Padua, Trieste and Lina, where he also did freelance double bass work. In 1869 Simandl won the position of Solo Double Bass of Viennas Imperial Opera, playing with them for thirty-five seasons. He was simultaneously a member of the Vienna Philharmonic Orchestra, Hofkapelle and, from 1876, played Principal Bass in Bayreuths famous Wagner Festivals. From time to time he also played in chamber music, including performances with the Hellmesberger, Kretschmann and Lidový quartets and frequently played the double bass part in the Piano Quintet in E minor Op.3 by Josef Labor (1842-1924) - a work dedicated to Simandl by the composer. Simandl composed many songs, his favourite genre, choral works, a Pastoral Mass, made arrangements for military band and wrote many works for double bass, but is chiefly remembered today for his educational and instructional music for double bass, which remains in print to this day. His Method for Double Bass was written for the Vienna Conservatoire, where he was Professor of Double Bass, and was first published in Vienna in 1874/5 and has remains in print. As a player, Simandl was renowned for his outstanding technique, using a new approach to the thumb position, and producing a sound which was both powerful and lyrical. He was regarded as a brilliant orchestral player and a music admired soloist and chamber musician in Vienna, and was one of the finest double bassists of his generation, also responsible for a whole generation of bassists who exported his style of playing and teaching to almost every corner of the world. As a soloist Simandl was most active in the Austrian capital and surrounding countries, often accompanied by the pianist-composer Bretislav Lvovský, who composed a number of works for double bass. Lvovský made an interesting comparison between Simandl and Bottesini: Some concert-goers preferred Bottesini because he used a so-called salon double bass with thin strings, whereas Simandl employed a traditionally built instrument (from 1893, on a majestic Maggini double bass) with normal strings. Specialists who have had the chance to hear both virtuosi in the same pieces give the edge to Simandl for strength and quality of tone as well as for his superb technique. To the large number of Czechs living in Vienna our Professor was equally regarded as a double bassist, conductor, choirmaster, singer and ever-willing organiser of cultural events. He belonged to the Vienna branch of the Slovanská Beseda (Cultural Society) from 1874, conducting their concerts for over 25 years and in 1891 was appointed President and Artistic Director of the society. Though forever abroad he remained a loyal Czech and for many years was in charge of the Vienna Philharmonic, being largely responsible for the promotion of Czech music with the orchestra, including symphonic works by Smetana, Dvorák and Fibich. Franz Simandl died in Vienna on 13 December 1912, after and long and protracted illness His approach uses the first, second, and fourth fingers of the left hand (the third and fourth operating together as one digit) for stopping the strings in the lower register of the instrument and divides the fingerboard into various positions. The second volume of the method looks at the use of thumb position using the thumb, first, second and third fingers, to play solo, high register work and again dividing the fingerboard up into a concept of positions. The second volume also delves extensively into the playing of harmonics. Simandls New Method of playing, now over a century old, is still common among classical double bassists, although the book itself is slowly being replaced by newer methods which incorporate modern pedagogical theory. Modern adaptations of, extensions to, and challenges to Simandl doctrines are acknowledged. Simandl studied at the Prague Conservatory with Josef Hrabe before becoming the principal bassist in the Vienna Court Opera Orchestra. He was Professor of double-bass at the Vienna Conservatory from 1869 to 1910. His pupils include many of the leading bassists of his time such as Ludwig Manoly, who moved to New York City becoming principal bass of the New York Philharmonic and was an influential teacher. The Simandl family tree of bass pedagogues extends for many generations. Prominent bassist/educators who can trace their lineage directly back to Simandl include Adolf Misek, Richard Davis, Mark Dresser, Joseph Guastafeste, Greg Sarchet, Gary Karr, Hermann Reinshagen, Karl E. H. Seigfried, Ludwig Streicher, Bertram Turetzky, and Frederick Zimmermann.
Posted on: Wed, 05 Nov 2014 14:21:28 +0000
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