Exposition
My double bass journey (2025)
HaoNan DingAbout this exposition
My double bass journey:
I am HaoNan Ding, currently in my second year of the master's program at NMH, where I am studying the double bass under the tutelage of Marius Flatby and Dan Styffe. My final exam con- cert is scheduled for June 6th, and it will be titled 'My Bass journey'. The repertoire will consist of three pieces: two from the Romantic period and one from traditional folk music, with a total dura- tion of approximately 45-50 minutes. I will be creating the concert poster myself, and the venue will be Levinsalen, NMH.
Through this concert, I aim to share the narrative of my personal journey with the double bass, which began when I moved to Singapore from China at the age of 18 in 2018, and continued with my relocation to Norway in 2022. These transitions have marked significant shifts both musically and culturally, making Norway my third country of study as a bassist in the last six years. The se- lection of pieces for the program reflects themes of homesickness and personal growth that res- onate deeply with my experiences.
As widely acknowledged, Bottesini stands out as the preeminent composer for the double bass, earning the moniker ‘the Paganini of the contrabass’. In this upcoming concert, I will be present- ing his renowned No. 2 concerto in B minor. Upon my initial encounter with this piece, its pro- found impact and operatic quality throughout struck me deeply.
Comprising three movements, the concerto's first movement particularly resonates with me. Yet, mastering its intricate technical demands—maintaining both intonation and speed—often diverts my attention from its lyrical essence, especially during moments of restraint where synchroniza- tion with the pianist proves challenging. Delving into Bottesini's life and the contextual backdrop of this concerto, I uncovered parallels between his challenging upbringing and my own. Hailing from a modest Chinese town near Shanghai, I commenced piano lessons at the age of three, find- ing solace in music amidst the rigidity and persecution of school life.
Inspired by the concerto's narrative, I embarked on a journey to evoke its emotional depth and thematic essence. Weeks of diligent practice ensued, culminating in a rendition infused with per- sonal nuances. Spanning approximately seventeen minutes, the concerto poses a formidable challenge, yet it serves as a canvas for my artistic expression. The second movement, in particu- lar, encapsulates the quintessence of my concert theme, resonating as a perfect embodiment of emotional resonance.
In addition to the aforementioned concerto, I am eager to include Adolf Míšek's Second Double Bass Sonata in my concert repertoire. Míšek, a prominent Czech double bassist and composer of the late Romantic era, crafted this sonata in E minor, resonating with the emotive qualities akin to Bottesini's concerto. Delving into Míšek's background reveals a narrative steeped in musical evo- lution: from his relocation to Vienna at the age of fifteen to his tenure as a bassist in orchestras, culminating in a return to Prague where he balanced orchestral duties with teaching at the univer- sity.
Enthralled by the narrative woven into Míšek's life, I consulted with my instructor and resolved to tackle this magnificent composition. Comprising four movements, Míšek's sonata presents a de- parture from the grandeur of Bottesini's concerto, offering a more structured approach to Roman- tic expression. Initially, my interpretation erred on the side of excess drama, prompting a reevalua- tion of my approach. Guided by my professor's insights, I shifted focus towards emphasizing melody and harnessing the full potential of the bow, transcending mere technical display. Through dedicated practice and mentorship, I gradually unraveled the sonata's essence, honing my ability to convey the desired emotional resonance.
The concluding piece, titled "牧歌" (Pastoral), was originally composed for a traditional Mongolian
instrument known as the "马头琴" (horse head fiddle). While numerous transcriptions exist for violin, viola, and cello, there has yet to be an edition tailored for the double bass. Motivated by the
authenticity of the traditional Mongolian score, I have undertaken the task of translating it for bass, recognizing the absence of bass instruments in both Mongolian and Chinese folk music histories.
Despite the historical absence of bass instruments in the musical traditions of Mongolia and China, the need for bass resonance to evoke deep emotions remains evident. This realization
fueled my decision to include "牧歌" in my repertoire. Hailing from Nantong, a city with a rich historical connection to Mongolia as a former outpost, I have always been fascinated by the distinctive linguistic and cultural differences between Nantong and neighboring Shanghai. Over the course of millennia, traces of Mongolian influence have persisted in our local dialect, serving as a testament to the enduring legacy of our shared history.
As a child, I was captivated by the enchanting melody of "牧歌," and its profound resonance with my own cultural heritage makes it a fitting choice for my final exam concert.
The connection between the chosen piece and the concert theme extends beyond historical significance. Originally composed for hunters on perilous expeditions a millennium ago, "牧
歌" (Pastoral) carries profound meaning embedded in its composition. Crafted by a military wizard, its essence intertwines prayers for bountiful harvests and divine blessings upon families for health and longevity. Embracing these sentiments, I approach the performance with heartfelt sincerity.
The melodic and harmonic elements of "牧歌" resonate deeply with me, despite the challenges encountered during the translation process—especially in adapting the piano accompaniment to suit the double bass's lower register. Furthermore, the need for solo tuning, necessitated by previous pieces in the concert lineup, adds a unique dimension to the performance, albeit deviating slightly from the original composition.
In curating the concert program for my final exam, I sought to create a cohesive narrative reflec- tive of my personal journey—from childhood to my experiences in Singapore and eventual reloca- tion to Norway. The chronological progression of the repertoire mirrors the significant milestones and transformations in my life.
I extend my gratitude to my mentors, Mr. Marius Flatby and Lina Braaten, whose guidance has enriched my understanding of musical expression beyond technical proficiency. Their influence has sparked a newfound vitality and depth in my performances, motivating me to undertake the transcription of this exquisite folk piece for the double bass. With my final recital at NMH ap- proaching, I aspire to leave a lasting impression on the audience.
| type | research exposition |
|---|---|
| date | 15/04/2024 |
| published | 08/07/2025 |
| last modified | 08/07/2025 |
| status | limited publication |
| share status | private |
| copyright | Haonan |
| license | CC BY-NC-ND |
| url | https://www.researchcatalogue.net/view/2393797/2393798 |
| published in | NMH Student Portal |
| portal issue | 6. Utvalgte Masterarbeider 2024 |
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