Certificate Recital: Ewan Curtis, Double Bass

Violin Sonata in G minor (Eccles, 1720)
Henry Eccles (1670 – 1742) was born to a family of English musicians, and grew up to
be a violinist in the Royal Band of Queen Anne. Eventually he settled in Paris where, in
1720 he published a set of 12 sonatas for violin and basso continuo. Three years later,
he published another volume that included 10 sonatas for violin and basso continuo, a
duo for 2 violins or 2 flutes, a sonata for flute and basso continuo, and a fantasia for
unaccompanied violin. His original 1720 publication was used as the primary source for
the edition played today.

The sonata that is known as ‘the’ Eccles Sonata in G minor is the 11th sonata from the
first book. It is unclear if Eccles himself actually wrote this sonata. The 1st, 4th, 8th, and
9th sonatas are copied almost note-for-note from Giuseppe Valentini’s Allettamenti
per Camera, Op. 8. Considering that Eccles was bold enough to plagiarize these other
sonatas, it puts into question the originality of all of his sonatas, including the 11th. This
sonata is a marvelous example of a baroque sonata da chiesa, or “church sonata.” A
sonata da chiesa is a sonata in four movements with the tempo scheme slow-fast-
slow-fast, or, two pairs of slow-fast.

Double Bass Concerto (Koussevitzky, 1902)
Serge Koussevitzky (1874 – 1951) was a Russian-born conductor, composer and
double-bassist. Although known for his long tenure as music director of the Boston
Symphony Orchestra from 1924 to 1949, he began his career as a touring double-bass
virtuoso. Sometime between 1902 and 1905, he composed a concerto for the bass,
possibly with the help of Reyngol’d Glière (the extent of his involvement is somewhat
unclear). The work, instead of following the most progressive tendencies of its time, is
a prime example of Russian romanticism. Koussevitzky dedicated the concerto to his
fiancée and premiered it in Moscow, subsequently playing it in Germany, Paris, and
Boston.

The concerto falls into convention of three movements, beginning with an allegro that
opens with a declamatory, Tchaikovsky-like theme succinctly stated by the piano, and
answered by a short bass recitative. The bass then presents the opening motto lyrically
and passionately. The solo line seamlessly threads its way into related material and
eventually offers a songful second subject. Koussevitzky stays on this material without
providing a full development, then fashions a modest bridge to the andante, which
sounds much like an aria from a Tchaikovsky opera. Here, for the first time,
Koussevitzky periodically takes the instrument into its lower range, but only briefly,
usually in the course of weaving the melody up and down the staff. For the most part,
Koussevitzky exploits the instrument’s middle and upper ranges, where it projects
better, and is careful not to let the accompaniment overpower the bass. A full pause
precedes the third movement, another allegro, which begins with the same
declamatory theme as the first movement. The bass picks up this melody more
passionately than before, and adheres to its contours more closely as it proceeds
through a loose, rhapsodic restatement of the opening movement.

Reverie and Tarantella (Bottesini, 1879 & 1870)
Giovanni Bottesini (1821-1889) was undoubtedly the greatest double bass virtuoso of
the 19th-century. Many of his compositions for double bass are still at the heart of the
solo repertoire today. He spent much of his life in opera houses as both a conductor
and a composer, and thus his music is inspired by the lyrical, cantabile, and virtuosity
of 19th-century Italian opera.

Bottesini’s Reverie is at the heart of the solo double bass repertoire today, but was
probably only arranged for the double bass in the 1950s. Originally a song for voice
and piano (Quando cadran le foglie), composed in Naples in 1879 and then published
in Nice in a version for cello or violin and piano, it was probably never played by
Bottesini and is described by Chris West as “one of his most inspired melodies”.
Reverie is lyrical and evocative, essentially a ‘song without words’. The music is
passionate, dramatic, tender, and poignant.

The Tarantella, while more commonly paired with Bottesini’s Elegy, is a spritely dance
that provides an exciting contrast to the Reverie. Contrary to popular belief, the
Tarantella does not derive its name from the myth that this dance was an antidote to
tarantula bites, but the fact that the name comes from the city of Taranto, located in
southern Italy. This circular dance is a courtship or wedding dance, but evolved into a
virtuosic showpiece. Though the Tarantella ends with a fast-paced tizzy of excitement,
it traditionally starts at a more moderate tempo and accelerates to the end.
Appropriately, Bottesini marks the tempo of the body of the work at merely Allegretto
(cheerful, but not too fast).

Avril 14th (James, 2001)
Richard James (1971 – Present), best known as Aphex Twin, is an Irish-born British
musician, composer, and DJ. He is most known for his revolutionary work in electronic
music styles such as techno, ambient, and jungle. He has been called one of the most
influential and important artists in contemporary electronic music.

Avril 14th is perhaps James’ best known work. In 2001, James released Drukqs, an
experimental double album that featured abrasive, meticulous programming as well as
computer-controlled piano influenced by Erik Satie and John Cage. The recording of
Avril 14th on the album is a recording of a Disklavier, a computer-controlled piano that
takes MIDI and plays the piano without human input. The work is quite calming
amongst the backdrop of many of James’ other works on this album which can be
quite jarring. The simple harmonic content and repeated phrases make the piece very
soothing. I chose this piece not only for that reason, but also because my recital
happens to be on April 14th, which felt quite fitting.

Appalachia Waltz (O’Connor, 1995)
The classical compositions of Mark O’Connor (1961 – Present) have been influenced
by the American roots music he has performed throughout his career. O’Connor won
national championships in fiddle, mandolin, and flat-pick guitar while still in his teens.
Named Country Music Association musician of the year for six years in a row, he was
frequently heard on recordings by Nashville artists in the 1990s. O’Connor has also
become known as a pedagogue, infusing string education with American styles
through his method books.

Appalachia Waltz was composed by O’Connor for violin in 1993 and arranged for
string trio on the 1995 album that he recorded with Yo-Yo Ma and bassist Edgar
Meyer. Influenced by Scandinavian and Appalachian fiddling, the piece is
representative of O’Connor’s willingness to cross musical boundaries. O’Connor has
stated, “If I play ‘Appalachia Waltz’ for any fiddler, they’ll say it sounds classical. If I play
it for any classical violinist, they’ll say it sounds like a fiddle or folk tune.” More delicate
in character than fiddling, Appalachia Waltz is, according to O’Connor, “supposed to
sound simple and innocent,” though this minimizes the virtuosity required to perform it.

Both Sides Now (Mitchell, 1966)
Joni Mitchell (1943 – Present), born Roberta Joan Anderson, is a Canadian singer-
songwriter, painter, and poet who has been widely recognized for her influential
contributions to folk, pop, and rock music. Born in 1943 in Alberta, Canada, Mitchell’s
unique artistic vision and expressive songwriting have made her one of the most
respected and celebrated musicians of her generation.

“Both Sides Now” was released in 1967 on Mitchell’s second album, “Clouds,” which
established her as a prominent voice in the folk music scene. The song became one of
her signature compositions, showcasing her unique songwriting style and emotional
depth. Over the years, Mitchell’s music has evolved and encompassed a wide range of
genres, including folk, pop, jazz, and experimental music, but her introspective and
evocative songwriting has remained a constant throughout her career. I was initially
introduced to this song through a beautiful piano arrangement by the jazz great Fred
Hersch. The version of this song that I typically play is less harmonically involved than
Hersch’s version due to my technical limitations, but I still feel great joy in playing this
beautiful tune.

A Night in Tunisia (Gillespie, 1940)
John Birks “Dizzy” Gillespie (1917 – 1993) was an American jazz trumpeter, composer,
bandleader, educator, and singer. A virtuoso of trumpet and improvisation, Gillespie
was one of the major leaders in the development of bebop and modern jazz. His music
is known for its complex harmonies, adventurous improvisation, and Afro-Cuban
influences.

“A Night in Tunisia” was originally recorded in 1942 by Gillespie’s big band, and it
quickly became one of his most famous compositions. The piece features intricate
melodies, complex rhythms, and fiery solos, showcasing Gillespie’s virtuosic trumpet
playing and his groundbreaking approach to jazz composition and arrangement. The
title of the composition is said to have been inspired by Gillespie’s fascination with
African and Middle Eastern music, as well as his interest in the culture and history of
Tunisia. The piece’s exotic and rhythmic melodies combined with its bebop
improvisation have made it a jazz standard and a highlight of Gillespie’s repertoire.

Untitled (Young, 2019)
Shout Young (1999 – Present) is a composer, multi-instrumentalist, arranger, and
producer from Houston, Texas. Young grew up with an appreciation for jazz, playing
trombone throughout his middle and high school years. After graduating from the
High School for Performing and Visual Arts, Young moved to New Orleans, where he
quickly became a regular performer. His understanding of jazz and music theory
enabled him to quickly pick up piano, music production, and film scoring. His
compositions have gained him a following on TikTok, where he posts videos under the
handle @vocaloutburst.

The song I am playing tonight is an untitled composition that Young posted to his
Instagram in 2019. The composition’s beautiful harmonies instantly hooked me when I
first heard it, and I transcribed the tune right away. I’ve been playing it on pianos ever
since then – it’s certainly my comfort song. I hope you enjoy it as much as I do!

Dancing Queen (Andersson, Ulvaeus, and Anderson, 1975)
ABBA, formed in 1972, was one of the most successful and influential pop bands of the
1970s and early 1980s, known for their catchy melodies, rich harmonies, and polished
production. “Dancing Queen”, one of their most popular songs, was composed by
Benny Andersson, Björn Ulvaeus, and Stig Anderson in 1976. It quickly became a
global hit, reaching the top of the charts in numerous countries and earning
widespread acclaim for its infectious pop sound and memorable lyrics. It has since
become one of ABBA’s most iconic and enduring songs, recognized as a classic of the
disco era and a pop culture phenomenon.

(in order of appearance)

Ewan Curtis ‘23 is a senior from Houston, Texas concentrating in Computer Science
and pursuing certificates in Urban Studies and Music Performance in Double Bass. He
began playing the bass in sixth grade and immediately loved it. In high school, he
studied with Eric Larson and he now studies with Jack Hill. At Princeton, Ewan plays
double bass in the Princeton University Orchestra and electric bass in the Princeton
University Rock Ensemble. He thoroughly enjoys playing music with friends outside of
these ensembles as well. He has played in a number of student bands on campus, and
loves to play any piano or guitar he manages to find. Recently, he’s started to learn to
DJ, and is having a blast performing for friends. When he isn’t playing music or doing
schoolwork, Ewan can be found cycling, hiking, skiing, snowboarding, or exploring the
local public transportation system.

Jihye Park is a highly sought-after educator and accompanist. She has engaged in
doctoral studies at Northwestern University, earned both a Master of Music degree
and Graduate Performance Diploma at the Peabody Conservatory, and holds a
Bachelor of Music degree from Hanyang University in Seoul, South Korea. Park
synthesizes the experience from her active performance career with the breadth of
knowledge from her formal studies to enable to her students to reach their full
potential as musicians.As an active collaborative artist, she has performed as an
accompanist with diverse choirs and singers and currently holding a position as a
rehearsal pianist of Cantus Novus in Bucks County, Pennsylvania. Park has been
serving as a staff accompanist at Westminster Choir College for the past decade. As a
piano faculty at Rutgers Community Arts, she enjoys working with students of all ages
from kindergarteners through adults.

Rachel Hsu ‘23 is a senior at Princeton University and is getting a degree in Molecular
Biology, as well as certificates in Global Health Policy, Engineering Biology, and Music
Performance. She currently studies with Sunghae Anna Lim and is an enthusiastic
member of the music community. Rachel is a volunteer violin teacher for Trenton Arts
at Princeton, concertmaster of the Princeton University Orchestra, a member of Opus
Chamber Music Princeton, and previously a member of Princeton Camerata. In her
free time, Rachel enjoys reading, hiking, making videos, watching TV in bed, traveling
anywhere outside the Midwest, and eating good Asian food.

Jeremy Cha ‘23 is a senior from Westfield, New Jersey majoring in Molecular Biology
with a certificate in Music Performance. At Princeton, Jeremy has been a member of
the Princeton University Orchestra, Opus, La Vie en Cello, and Early Music Princeton.
Besides music, Jeremy is also an avid fan of basketball, good naps, and pizza rolls.

Evan DeTurk ‘23 is a saxophonist, composer, and arranger from Seattle, Washington
majoring in Molecular Biology and pursuing a certificate in Jazz Studies. While still in
high school, he performed around the United States and Europe with the renowned
Garfield High School Jazz Band. At Princeton, Evan has studied under David Liebman,
Rudresh Mahanthappa, Darcy James Argue, and Miles Okazaki. He plays in multiple
jazz groups as well as the Triangle Club Pit Orchestra. He also leads the funk band
Gemenon and plays saxophone in the indie neo-soul band Hot Jupiter. His music
draws from a diverse set of genres, with his most recent work combining jazz-style
horn writing with live electronic music. He hopes to pursue a career in biotechnology
or scientific research in addition to music.

Gabe Chalick ‘24 is a junior from Naples, FL majoring in Art History with a minor in
Jazz Performance. When he isn’t giving people the good fortune of being able to hear
his delightfully lush trumpet sound he can be found singing Billy Joel way too loud in
the shower, running around campus blasting techno in his silly little earbuds, or
reading Marx outside.

Daniela Vita ‘24 is a junior from Israel, majoring in Electrical and Computer
Engineering. In addition to playing guitar, she is a music producer and songwriter. At
Princeton, Daniela has been part of the African Music Ensemble, the Triangle Club, jazz
groups Small Group X and Z, and the Jazz Vocal Collective. You can find her singing
out loud with headphones while walking down the street. If you read this far – the best
cappuccino in town is in Ellinikon on Nassau.

Jarod Wille ‘24 is a junior from Egg Harbor Township, NJ concentrating in Electrical &
Computer Engineering and pursuing a certificate in Statistics & Machine Learning. At
Princeton, Jarod is studying under Elio Villafranca and is the pianist of Small Group Z.
He is also a member of Old NasSoul, Princeton’s premiere R&B and soul acapella
group. In his free time, Jarod loves to run, ride his bike around campus, learn foreign
languages, and try new foods. Most important to Jarod is his close friends (*cough
cough* Ewan) with whom he always loves to spend time sharing laughs.

Alex MacArthur ‘25 is a sophomore from Newton, Massachusetts who plans to
declare a concentration in history with certificates in French language & culture,
European cultural studies, and values & public life. He is a trained jazz drummer and
trumpet player, and has performed in a wide array of events and competitions ranging
from the Panama Jazz Festival to the Mingus Competition. He is also a musical
omnivore, and enjoys listening to and studying everything from early music to
dancehall. He currently plays drums for Hot Jupiter and Gemenon, and studies under
Vincent Ector. Outside of his studies, Alex enjoys cooking, reading, (re) watching films,
writing, and playing around the bonfire with his closest friends.

Bernie Levenson is a Senior Music Performance major at Rutgers University where he
currently studies under Tim Cobb and Louis Levitt. Bernie performs regularly as a sub
with the Princeton University Orchestra as well as the Rutgers String Ensemble and
multiple chamber groups. Outside of his classical playing he enjoys performing with his
Latin band and submitting late assignments.

Cara Turnbull GS is a fourth year graduate student from Essex, Vermont studying
Music Cognition. Her research involves using empirical methods to provide insight into
the complex experiences of music performers and listeners, and particularly the ways
in which music can bring people together. Outside of the lab, Cara spends her time
playing with the Princeton University Orchestra and Princeton Sinfonia and keeping
her dog out of mischief.

Abhi Bansal ‘27 is an incoming freshman at Princeton University, planning on
concentrating in Economics and pursuing a certificate in Music Performance. He
currently studies in the Juilliard Pre-college program under the tutelage of Eugene
Levinson, former principal of the New York Philharmonic Orchestra. Abhi is a member
of the New York Youth Symphony, Princeton University Orchestra, Juilliard Pre-college
Orchestra, and Opus Chamber Orchestra. In his free time, Abhi enjoys playing soccer,
eating chicken wings, and spending time with friends and family.