VDBSI 2021 Faculty
Double bass Faculty:
George Amorim • Edwin Barker • John Clayton • Pascale Delache-Feldman • Peter Lloyd • Heather Miller Lardin • Rufus Reid • Marlene Rosenberg
Don Greene • Lynn Hannings • Jason Heath • Mary Javian • Nick Lloyd • Vanessa Mulvey • Jean Rife
Double Bass Faculty:
Praised by the New Music Connoisseur for her “technical certainty and musical imagination,” French double bassist Pascale Delache-Feldman has been described as “a gifted colorist who produced an entire range of orchestral effects” (Boston Phoenix).
In her recent appearance at the Kennedy Center, Ms. Delache-Feldman performed a new arrangement of Astor Piazzolla’s Four Seasons of Buenos Aires which will be included in her soon to be released “Let’s Tango” album. Other recital credits include performances at Radio France; Franz Liszt Academy, Hungary; and Teatro Victoria Eugenia, San Sebastian, Spain. As a soloist, she has performed in Massachusetts with the Merrimack Valley Philharmonic, the North Shore Philharmonic, and in Vermont with the Greensboro Festival Orchestra.
A prizewinner at the Prague International Chamber Music Competition, Ms. Delache-Feldman has collaborated with the St. Petersburg, Borromeo, and Lark String Quartets and recorded chamber works with violinists Midori and Joel Smirnoff, and soprano Dawn Upshaw. As a member of Duo Cello e Basso, Pascale has partnered with cellist Emmanuel Feldman to premier over 20 new works, performing across Europe in Austria, Germany and France, and through out the US. Pascale can be heard on the Albany, Archetype, and CRI labels and has been featured on Jason Heath’s podcast Contrabass Conversations.
A committed educator and arts entrepreneur, Ms. Delache-Feldman founded and directs the Family Chamber Music Fest — Online Edition as well as the Boston Bass Bash, an international festival that has drawn guest faculty performers Edwin Barker, Tim Cobb, Rufus Reid, and Michael Moore. She’s on the faculty at the Longy School of Music of Bard College and Tufts University, and has presented master classes at Eastman, University of Taipei, New England Conservatory and the University of Texas.
A second-generation bassist, Pascale studied with her father from age 10 at the Toulouse Conservatory, and went on to the Paris Conservatory to earn her first prize with honors and the Curtis Institute of Music where she received her Artist Diploma. Through her training with peak performance coach Don Greene, her Feldenkrais Method and Tai Chi studies, Pascale brings a wealth of perspective to her teaching and residency work, creating personalized workshops for musicians and broader audiences.
“Music is a world of self-discovery— for me and my audiences. Together, we can push the boundaries and stretch our imagination.”
George Amorim’s career is marked by versatility and creativity as a performer and educator with teaching and performances engagements that have taken him to Europe and across Central, South and North Americas. George performed for several years with the Paraná Symphony and Recife Symphony orchestras in Brazil as well as with the Santo Domingo Music Festival Orchestra under Phillip Entremont. He has been performing with the Corpus Christi Symphony Orchestra since 2007 and he is also co-principal of the Chamber Orchestra of San Antonio.
An educator in demand, Dr. Amorim's articles on double bass pedagogy have been published by Bass World and Strings magazines. He has been a featured clinician, adjudicator and recitalist at the Texas Music Educators Association Convention in San Antonio, the Texas Double Bass Symposium, the International Society of Bassists Convention, the European Double Bass Congress and at the annual Chicago Bass Festival.
Dr. Amorim heads a thriving double bass studio at George Amorim at the University of Texas Rio Grande Valley in Edinburg where he is Associate Professor of Double Bass, which is comprised of some of the most gifted young bass players from and a handful of equally talented international students. He also founded and directs the ¡Viva el Bajo!, an organization that promotes double bass playing in South Texas and helps inspire and guide young musicians in their studies of the double bass.
George performs on an unlabeled mid-1700’s bass and a 1860 French bass and several modern and historical bows, including a modern German bow by Marco Pasquino, a baroque bow by Antonio Airenti and a couple of transitional bows made by Ed Shillitoe.
BSO principal bass Edwin Barker has concertized in North America, Europe, and the Far East. He has performed and recorded with the BSO, the Boston Symphony Chamber Players, and the contemporary music ensemble Collage, and is a frequent guest performer with the Boston Chamber Music Society. Mr. Barker gave the world premieres of James Yannatos' Concerto for Contrabass and Chamber Orchestra (which was written especially for him) and of Theodore Antoniou's Concertino for Contrabass and Chamber Orchestra; he was the featured soloist in the New England premiere of Gunther Schuller's Concerto for Double Bass and Chamber Orchestra.
Mr. Barker graduated with honors in 1976 from the New England Conservatory, where he studied double bass with Henry Portnoi. That same year, at age twenty-two, while a member of the Chicago Symphony, he was appointed principal double bass of the Boston Symphony Orchestra. His other double bass teachers included Peter Mercurio, Richard Stephan, Angelo LaMariana, and David Perleman.
Mr. Barker inaugurated the BSO's 100th Anniversary Season with performances of Koussevitzky's Bass Concerto; other solo engagements have included appearances at Seiji Ozawa Hall, Carnegie Recital Hall, and major universities and conferences throughout the world, as well as concerto performances with the Boston Classical Orchestra and the Boston Symphony Orchestra in Boston and Europe. In July 1995 he was chosen by the late Sir Georg Solti to lead the bass section of the United Nations' "Musicians of the World," an orchestra made up of prominent musicians from the world's finest orchestras.
Mr. Barker is an associate professor at the Boston University College of Fine Arts, where he teaches double bass, orchestral techniques, and chamber music. His other major teaching affiliations include the BSO's Tanglewood Music Center, where he is Chairman of Instrumental and Orchestral Studies, and the National Orchestral Institute at the University of Maryland. His solo CDs include "Three Sonatas for Double Bass"; James Yannatos' Variations for Solo Contrabass, and the recently released "Concerti for Double Bass," which includes concertos by Gunther Schuller and Theodore Antoniou.
Bassist, Composer, Arranger and Producer, John Clayton, is a busy man. With a Grammy on his shelf and nine additional nominations, artists such as Diana Krall, Paul McCartney, Regina Carter, Dee Dee Bridgewater, Gladys Knight, Queen Latifah, and Charles Aznavour have had spots on his crowded calendar.
In 1985 John, co-founded the Clayton-Hamilton Jazz Orchestra and rekindled The Clayton Brothers Quintet. In addition to individual clinics, workshops, and private students as schedule permits, John also directs the educational components associated with the Centrum Jazz Festival and Workshop, and Vail Jazz Workshop.
Career highlights include arranging the 'Star Spangled Banner" for Whitney Houston's performance at Super Bowl 1990 (the recording went platinum), playing bass on Paul McCartney's CD “Kisses On The Bottom,” arranging and playing bass with Yo-Yo Ma and Friends on "Songs of Joy and Peace," and arranging playing and conducting the CD "Charles Aznavour With the ClaytonHamilton Jazz Orchestra," and numerous recordings with the Clayton Brothers, the Clayton-Hamilton Jazz Orchestra, Milt Jackson, Monty Alexander and many others.
A native of Philadelphia, Peter Lloyd is a graduate of The Curtis Institute of Music and The Settlement Music School, having studied with Roger Scott and Eligio Rossi. Upon graduation from Curtis he immediately joined The Philadelphia Orchestra, remaining there for more than eight seasons before accepting the position of Principal Bass of The Minnesota Orchestra, a title he held from 1986 to 2007.
Throughout his career Mr. Lloyd has worked with many of the world’s greatest conductors, including Riccardo Muti, Klaus Tennstedt, Wolfgang Sawallisch, Leonard Bernstein, Bernard Haitink, Claudio Abbado, Daniel Barenboim, Kurt Masur, Charles Dutoit, Yuri Temirkanov, Eugene Ormandy and James Levine. Mr. Lloyd’s orchestral career continues today, regularly appearing as principal bass with a variety of ensembles worldwide.
Having dedicated much of his career to the chamber music repertoire, Mr. Lloyd has performed with the Guarneri String Quartet, Jamie Laredo at The 92nd Street Y and for many years with members of the Budapest, Guarneri, Emerson, Juilliard and Orion string quartets as well as the Beaux Arts Trio and the Penderecki, Miami, Miro, Brentano, Borromeo and Biava quartets. He has been a regular participant at The Marlboro School of Music, The Chamber Music Society of Lincoln Center, The Orpheus Chamber Orchestra, Chamber Music Northwest, Music From Angel Fire, Bravo! Vail Valley Music Festival, The Brooklyn Chamber Music Society, Chicago Chamber Musicians, The Boston Chamber Music Society, The Brandenburg Ensemble, BargeMusic in New York City and La Musica. His concerts with these groups have taken him throughout North America, Europe and the Far East.
Over the past three decades Mr. Lloyd has worked with many of the major recording labels, having participated in dozens of recordings with RCA, EMI, Sony, Telarc, Virgin Classical, BIS, and Reference Recordings.
In addition to his concert schedule, Mr. Lloyd maintains an active teaching career. He is a regular visitor to many of the leading music schools in the United States, giving master classes, lectures and recitals at The Curtis Institute of Music, The Juilliard School, The Tanglewood Music Festival, The Manhattan School of Music, The Mannes School, Indiana University, The Peabody Conservatory, The Chautauqua Institute, Youth Orchestra of the Americas and many others. He serves as an annual coach at The New York String Orchestra Seminar held at Carnegie Hall under the direction of Jamie Laredo, is a regular visiting teacher at The New World Symphony and has been invited to teach and perform in China at The Guangzhou International Music Academy under the direction of Charles Dutoit and The Pacific Music Festival in Sapporo, Japan.
Mr. Lloyd is currently a member of the faculty at the Colburn Conservatory of Music and has served as a member of the board of directors for The International Society of Bassists.
Heather Miller Lardin
Early bass specialist Heather Miller Lardin is principal bassist of the Handel and Haydn Society and director of the Temple University Early Music Ensemble.
Ms. Lardin is a regular member of the Philadelphia Bach Collegium and Tempesta di Mare and serves on the faculties of the Amherst Early Music Festival and the Curtis Young Artists Summer Program.
Ms. Lardin co-directs Night Music, a Philadelphia-based period instrument chamber ensemble focused on music of the Revolutionary and Romantic eras. Night Music’s debut recording “Music for a Viennese Salon” was released by Avie Records in August 2020.
A graduate of the Curtis Institute of Music, Ms. Lardin holds a DMA in Historical Performance Practice from Cornell University.
She performs on a Viennese violone after Stadlmann, ca. 1748 (Oskar Kappelmeyer, 2013), a violone in G after Busch, ca. 1630 (John Pringle, 1993) and a Baroque double bass after Maggini, ca.1620 (Thomas Andres Wolf, 2019).
Sometimes called a chameleon, Rufus Reid is one of today’s premiere bassists on the international jazz scene. His musical prowess can be found perfectly comfortable in an array of performance settings. You can find Rufus leading his own groups, which can be heard as The Rufus Reid “Out Front” Trio with Steve Allee, piano; Duduka Da Fonsca, drums, or the Rufus Reid Quartet; The Out Front Trio with Yosvany Terry on Saxophones. He brings The Big Band Sound Of Rufus Reid to the stage with many of his own compositions. He also performs Quite Pride – The Elizabeth Catlett Project, the music from his Grammy Nominated CD.
His major professional career began in Chicago and continues in New York, where he has traveled, performed and recorded with most of the Jazz Masters. He was privileged to share a moment of music with some that have passed on; Booker Irving, Gene Ammons, Kenny Dorham, Sonny Stitt, Don Byas, Philly Joe Jones, Kenny Dorham, Thad Jones, Mel Lewis, Dexter Gordon, Stan Getz, and Dizzy Gillespie, Harold Land, Art Farmer, Joe Henderson and Frank Wess. He has over four hundred recordings in his discography.
Rufus Reid is equally known as an exceptional educator. Reid and Dr. Martin Krivin created the Jazz Studies and Performance Bachelor of Music Program at William Paterson
University. Reid continues teaching clinics since 1971 with associations with The Jamey Aebersold Summer Jazz Workshops, The Stanford University Jazz Workshop, and conducts Master Classes, workshops and residencies around the world.
His book, The Evolving Bassist, published since 1974, continues to be recognized as the industry standard as the definitive bass method. The Millennium Edition was published in 2000.
As if this was not enough, Reid has become an important composer too. A very original writer, he creates charts with sensitivity and personality, his compositional prowess and vision growing with each project. Reid was awarded the John Simon Guggenheim Memorial Foundation Fellowship for Composition in 2008. This and three MacDowell
Colony Grants have allowed him to explore composing for Symphony Orchestras. He is accepting commissions to write for Symphony Orchestras, Concert Bands, Big Bands, Solo Bass and more.
Rufus holds a Bachelor of Music Degree in Performance on the Double Bass from Northwestern University where he studied with Warren Benfield and principal bassist, Joseph Guastefeste, both of the Chicago Symphony.
“If You don’t know bassist Marlene Rosenberg from her work with Paul Wertico……or Ed Thigpen, OK. But, she’s gigged with a virtual murderer’s row of players.”
— Dave Cantor, Downbeat Magazine.
Having performed and toured with Joe Henderson, Nancy Wilson, Roy Hargrove and Stan Getz, bassist Marlene Rosenberg has a background of performing with the jazz icons. But she also traffics with the newest generation of jazz artists, including Jazzmeia Horn, Makaya McCraven and Marquis Hill.
Ms. Rosenberg’s festival credits include the Mt. Fuji Festival (Tokyo), The North Sea Festival (Rotterdam, Holland), and the Kristianstad-Ahus Festival (Sweden). As for clubs, Marlene has played The Village Vanguard in NYC, The Chicago Jazz Showcase, The Quasimodo in Berlin and The Magnetic Terrace in Paris.
“One of Jazz, Bass, and Music world’s treasures! There is a great bass tone, great swing, and lovely fire in everything that Marlene does.”
— John Clayton, bassist, composer
Having self-produced 4 CDs, Marlene has recorded both standards and her own compositions. Her latest recorded work, MLK Convergence is a collaborative venture that includes NEA master pianist Kenny Barron, drummer Lewis Nash and in a guest feature, fellow bassist Christian McBride. All About Jazz’ Dan Bilawsky, described the album’s effect as “shedding light and love to overshadow the darkness.” It’s a “Convergence” of Cultures, Generations and Gender. “MLK” is also an acronym for Marlene, Lewis, and Kenny who have endeavored musically to embody Martin Luther King Jr.’s message of better understanding and acceptance for ALL people.
A frequent collaborator with internationally-recognized tap dancers, Marlene has performed with Jimmy Slyde, and with Sarah Petronio’s Dance Company. In a program filmed at a special event filmed at The Harold Washington Library, Marlene performed with young tap artist Jumaane Taylor as part of the 2020 Award Ceremony for The Chicago Tap Dancers Forum.
As a frequent invited guest artist and clinician, Rosenberg has adjudicated and taught master classes at Michigan State University, The Buddy DeFranco Festival in Montana, and Arizona State University’s Jazz Festival and the International Society of Bassists. She is on the faculty of Northern Illinois University and Roosevelt University (Chicago).
Dr. Don Greene
Dr. Don Greene, a peak performance psychologist, has taught his comprehensive approach to peak performance mastery at The Juilliard School, Colburn School, New World Symphony, Los Angeles Opera Young Artists Program, Vail Ski School, Perlman Music Program, and US Olympic Training Center.
During his thirty-two year career, he has coached more than 1,000 performers to win professional auditions and has guided countless solo performers to successful careers. Some of the performing artists with whom Dr. Greene has worked have won jobs with the Metropolitan Opera Orchestra, New York Philharmonic, Chicago Symphony, San Francisco Opera, Montreal Symphony, Pittsburgh Symphony, National Symphony, Cincinnati Symphony, Pacific Northwest Ballet, and the Dance Theatre of Harlem, to name just a few.
Of the Olympic track and field athletes he worked with up until and through the 2016 Games in Rio, 14 won medals, including 5 gold. Dr. Greene has authored eight books including Audition Success, Fight Your Fear & Win, and Performance Success.
In 2017, Dr. Greene was named a TED Educator and collaborated with musician Dr. Annie Bosler to produce the TED-Ed How to practice effectively…for just about anything. The video went viral receiving over 31 million views across Facebook and YouTube.
While in High School, Lynn studied bow rehairing with John Roskoski of Wurlitzer, New York. Attending New England Conservatory as a bassist, she began her bow restoration and bow making studies with William Salchow; focusing on cello bows. In 1982, Ms. Hannings was awarded a Certificate for Eminent Playability for a Cello bow by the Violin Society of America. After private instruction both in NY and at the UNH Violin Craftsmanship Institute, Lynn became Mr. Salchow’s teaching assistant at the Institute for ten years before taking over classes upon his retirement.
She received her degree of Journeyman from the American Federation of Violin and Bow Makers in 1984 and was elected to membership in 1985. In 1989, Ms. Hannings was granted both a Fulbright Scholarship and an Annette Kade Fellowship for the Advanced Study of the French School of Bowmaking in Paris, France with Bernard Millant. Lynn became a member of the Entente Internationale des Maitres Luthiers et Archetiers d’Art in 2000. In 2011, she received the International Society of Bassists Special Recognition Award for lutherie. Ms. Hannings has studied musician’s injuries and received a degree from the University of New England to better serve her clientele. As a conservatory trained musician, performer, trained bowmaker and restorer, she has both the perspective and expertise to work with individual musicians from around the world to meet their unique playing requirements.
At the UNH Violin Craftmanship Institute, the focus in bow classes is on training students in time-honored methods in an atmosphere of support and encouragement. With hands-on class experience as well as individual attention in Rehair, Bow Repair I and Bow Repair II, students can, with practice and refinement of skills, provide for their musical communities either as self-employed business people or by becoming valuable assets to professional shops.
Ms. Hannings operates a thriving bow shop in her home in Freeport, Maine, splitting her shop time between making and restoration. She is also a member of the Portland Symphony Orchestra.
Jason Heath is the host of the Contrabass Conversations podcast and is Strings Product Manager for Eastman Strings. He is also a course creator for Discover Double Bass, and he is internationally active as a clinician and consultant.
Jason is a former member of the Board of Directors for the International Society of Bassists. He also previously served as president of the Illinois chapter of the American String Teachers Association and orchestra representative for District VII of the Illinois Music Educators Association.
A highly decorated veteran teacher, Jason is a past faculty member at DePaul University and the University of Wisconsin-Whitewater. His former students hold positions in the Lyric Opera of Chicago, Baltimore Symphony, and Philharmonie Sudwestfalen. As a high school orchestra director, Jason’s orchestras had many notable performances, including the Midwest Clinic in Chicago and tours in Peru, Spain, and Cuba.
A graduate of Northwestern University, Jason performs with the IRIS Orchestra in Memphis Tennessee and ensembles in the San Francisco Bay Area. He was a member of the Elgin Symphony for 16 seasons and has performed with the San Francisco Symphony, Lyric Opera of Chicago, Grant Park Symphony, and numerous other professional ensembles.
Mary Javian’s goal as a performer, educator, curator and public speaker is to use music to create positive social change in communities. She has presented around the world in these areas for nearly two decades.
Ms. Javian has toured and performed with the Philadelphia Orchestra and other world-class ensembles as a double bassist. She has served as principal bass of the IRIS Orchestra and has recorded with the Philadelphia and IRIS orchestras, the Tanglewood Music Center, Network for New Music, Dolce Suono Ensemble, and the Apple Hill Center for Chamber Music. She has performed recitals and given master classes in the U.S., Europe, and Asia. Ms. Javian has received fellowships from the Tanglewood Music Center, the National Repertory Orchestra, the National Symphony Orchestra, and the Verbier Festival, where she is now a member of the faculty.
As chair of career studies at Curtis, Ms. Javian has created a dynamic social entrepreneurship curriculum that develops the entrepreneurial and advocacy skills that 21st-century musicians need. Her project-based classes help students create community partnerships that sustain both artistic and social value. Her students have gone on to start their own educational programs, innovative ensembles, and music festivals around the world.
For a decade, Ms. Javian curated a critically acclaimed concert series for LiveConnections at World Cafe Live, featuring boundary-crossing collaborations and emphasizing newly commissioned music blending styles and cultures. She has also curated performances for Intercultural Journeys, an organization that promotes peace and cultural dialogue through music; and works with Curtis students to create concerts for families and new audiences through innovative partnerships with arts organizations across Philadelphia.
Ms. Javian is frequently asked to speak about social entrepreneurship and community-based work, and has contributed to several books on these subjects. She has presented at numerous universities and conservatories; has consulted with organizations such as the Philadelphia Orchestra, the New World Symphony, the Atlanta Symphony Orchestra, and the Savannah Music Festival; and has led workshops for programs across the U.S., Europe, and Asia. Ms. Javian currently serves on the boards of two music education nonprofits, Project 440 and the VOCES8 Foundation in the U.S.
A graduate of the Curtis Institute of Music, Ms. Javian studied double bass with Harold Robinson. She joined the Curtis faculty in 2011 and assumed her current position in 2016.
Nick Lloyd is a respected luthier and has built 56 double basses including a bench copy of Edgar Meyer's Giovanni Battista Gabrielli (1769). His instruments are owned by Tim Cobb, Adam Ben Ezra, and professionals across the U.S., Europe, and Taiwan. www.nicklloydbasses.com
High quality movement produces exciting musical expression, guides efficient, reliable skill development and keeps us healthy. Vanessa Mulvey combines Body Mapping with principles from Core Movement Integration, Feldenkrais, Contoured Weight Shifting to educate musicians about the body’s design for movement in order to transform performances from good to great.
A faculty member of the New England Conservatory of Music and Longy School of Music of Bard College, Ms. Mulvey teaching unleashes artistry by fine-tuning movement using the tools of Body Mapping with movement. At the New England Conservatory of Music she was part of health and wellness team that surveyed faculty and staff about pain, injury and mental health. Based on the results, a wellness component was implemented for first year students. She teaches Body Mapping classes at both schools, and is a sought after coach. Ms. Mulvey coaches musicians one on one, and presents master classes at music schools, conferences and festivals, including Festival de Flautistas del Perú, Shepherd School of Music at Rice University, Utah Flute Association, Brigham Young University,Frost School of Music, the Boston University Tanglewood Institute, National Flute Association Convention and the British Isles Music Festival.
Ms. Mulvey is outgoing President of the Association for Body Mapping Education. As President, she led the organization through a name change and the implementation of a strategic plan. She became a licensed Body Mapping Educator in 2009 which inspired her to understand movement more deeply. Additional movement studies in MovNat, Parkour, flying trapeze, Core Movement Integration, and Primal Spiral Method. She successfully completed the level 1 training for Core Movement Integration and in 2021, she will add Parkour training to her repertory. She studied flute performance at Cincinnati College-Conservatory of Music & Crane School of Music at SUNY Potsdam. Learn more at www.breathemoveperform.com.
A pioneer in the original instrument movement in the United States, Jean Rife performed solo and ensemble music on natural horn throughout this country and abroad in Germany, Switzerland, and the United Kingdom as well as Japan and South America. Principal horn in Boston Baroque, Boston’s premiere early music ensemble, Ms. Rife made several recordings as a soloist and ensemble player. As a modern horn player, she was principal horn in the Rhode Island Philharmonic, and played in most of the major performing ensembles in the Boston area.
She commissioned and premiered new pieces from composers such as John Harbison, Yehudi Wyner, Martine Pearlman, and Luna Pearl Woolf.
In 2004, having previously studied piano extensively, Jean undertook to learn harpsichord, enlisting the help of her teacher Peter Sykes, the harpsichord professor at Juilliard and Boston University. She continues to develop this interest, playing with ensembles when needed and occasionally performing full recitals, the most recent of which included all six Bach Partitas.
Early in her career, Jean noted how her health and fitness affected her ability to play music. She had always been active, and was one of the few of her classmates at Oberlin Conservatory who also participated in sports. In 1976, she took up the study of the Alexander Technique weekly with Joe Armstrong for two years, then eventually discovered the practice of yoga, which built on that study very effectively and included a meditation and relaxation practice. She has been a student of yoga for over thirty years, and has shared this passion with her colleagues and their students at master classes and festivals in places such as Indiana University, University of Michigan, and the University of Wisconsin in Madison. She developed and taught a successful and popular yoga course for musicians at the Longy School of Music in Cambridge, Massachusetts for several years, and a few of her students now teach yoga classes of their own.
Currently, Ms. Rife is on the teaching faculty at MIT, where as Lecturer, she coaches many varied chamber ensembles and works with the wind section of the MIT Symphony Orchestra. At New England Conservatory, she is assistant chair of chamber music, in charge of winds, brass and percussion, coaches chamber ensembles, and is on the horn faculty.