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Contrabajisimo / Ensemble 2005
„Wenn eine Kontrabassistin wie Christine Hoock sich daran macht, Piazzollas Tangos zu interpretieren, dann
stellt man spätestens fest, dass dieses riesige Streichinstrument mehr als ein subordiniertes Begleitinstrument ist. Und zudem sind diese Tangos so grandios geschrieben wie interpretiert, dass es Laune
macht, sie immer und immer wieder zu hören. Das liegt auch an der versierten Klavierbegleitung von Barbara Nussbaum. Dass daneben auch noch größer besetzte Werke zu hören sind ( u.a. auch das Konzert
für Bass, Bläser und Percussion) stört überhaupt nicht, da die Lebendigkeit, die Agilität und vor allem die Ausdruckstiefe der Bassistin auch hier erhalten bleibt. So will man Bass immer wieder
hören!!!”
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BASSWORLD Dec. 2005
These two discs represents the most recent of German double bassist Christine Hoock’s contributions to the
discography of our instrument. Released in 2004 and 2005, repectively, these recordings demonstrate her ability to engage her audience in a wide variety of repertoire and her passionate approach to music
making.
On Bassa Nova Hoock demonstrates her control of the presents works ranging from the familiar to
those that bear further attention. Opening with Bottesini's Allegro diConcerto 'Alla Mendelssohn', she immediately demonstrates her ability to project a clear tone and the lyricism she uses to craft each phrase. Hoock moves fluidly from genre to genre, with command of tone, articulations, and nuance at every turn. Proto's Sonata 1963 and Jean Francaix's Mozart New-Look are
the most familiar selectionsThese, along with Emil Tabokov's Motivy. Bottesini's Tutto ilmondo serro with mezzo soprano Claudia NĂĽsse is artfully done. Duo Piasso gave the European
premiere of the Suite in three Movements by Leo Eylar, and this may be the first time the piece has appeared on a commercial recording. The Adagio from Dimitri Shostakovich's The ClearStream gently
rounds out the disc.With the unaccompanied Tabokov we get to hear the full range and nuance of Hoock's playing. Their choice of repertoire is creative and the playing by both Hoock and Nussbaum is
top-notch.
Contrabajisimoconsists primarily of works by Argentinian composer Astor Piazzolla. Hoock
embarked on this project after performing Kicho, one of the few original pieces Piazzolla wrote for the bass. Ihe arrangements are her own in collaboration with pianist Barbara Nussbaum, and include violin on three of the works. Emst-Ludwig Leitner's Concerto for doublebass, winds, percussion and harp, which is heavily influenced by Piazzolla, is also on the disc.The range of emotions that Hoock captures between the exquisite tenderness and the suspended tension that is ever-present in the tango is mesmerizing. The haunting familiarity of Legratango,
Oblivion, Milonga enRe, and Tanti anni prinia, carries over into Kicho and Contrabajisimo, and Hoock demonstrates her control of shading and clarity of her tone on each
piece. Barbara Nussbaum expertly complements the melodic line of the double bass; this music is truly a duo each line, whether harmony or melody, needs to balance with the others, and the ensemble
is terrific. Winfiied Rademacher's violin playing blends in, emerging from the bass line, and weaving through the texture to give it subtle color and inflection.The Concerto by Leitner is lightly
scored with flute, oboe, clarinet, bassoon, two horns, two trumpets, trombone and tuba, in addition to the harp and percussion. Modeled after the instrumentation of Mozart's GranPartita, the
bass is given the role of the first violin. Not only does the instrumentation echo Piazolla's own preferences, but Leitner also hints at Adios Nonino without ever quoting it directly.
This is a charming yet striking piece, well balanced in ensemble, and gives Hoock yet another venue in which to shine.
I had the additional pleasure of hearing Hoock perform several of the Piazzolla pieces live at die 2005 ISB
convention, accompanied by Nussbaum and violinist Renata Artman-Knific. The audience, captivated by their affection for the music of Piazzolla, was completely drawn in by the sheer energy of the
performers as they played their hearts into this music. The feeling of the disc is more of a controlled energy, but the heard is all there - captured for the continued enjoyment of the listener.
Review by Andi Beckendorf
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