Photos Courtesy of Choate Flickr
The double bass is the largest and lowest-pitched instrument of the orchestra string section and takes on a crucial supporting role in the ensemble. Classical bass soloist Ms. Yung Chiao Wei showcased the instrument’s virtuosic qualities on January 20 when Choate welcomed her to Colony Hall to perform and lead a private masterclass for students in the Arts Concentration signature program.
Ms. Wei began playing the piano at six years old in Taiwan. At 12, she discovered her passion for bass and moved to the United States at 16 to further her studies. In 2003, she debuted at Carnegie Hall, becoming the first female solo bassist to perform there. Currently a member of the music faculty at Louisiana State University, Ms. Wei shares her love for music and skill with her students.
Ms. Wei’s journey with the bass has not been easy. She was born with an abnormally short thumb and pinky finger, but Ms. Wei has nevertheless overcome her physical abnormalities through diligent practicing and experimentation with her technique. Standing at 5’3” next to her six foot tall bass, Ms. Wei has amassed an impressive repertoire.
Since not a lot of music is composed solely for the bass, Ms. Wei transcribes many of the pieces she performs. Her performance at Choate included both classical and Chinese orchestral pieces. The first piece, “The Butterfly Lovers’ Violin Concerto” by He Zhanhao and Chen Gang, was one of the first songs she recorded on CD, which focused on themes on finding her identity as a musician, as suggested by her former teacher. Throughout the process of recording, Ms. Wei explored techniques to imitate a traditional Chinese sound and depict the story of two young lovers. “It was a way to search for where my roots were,” she said.
Ms. Wei also performed “Reflection of the Moon on Lake Erquan” by Yen Jung Hua and “Cello Concerto in E Minor, Op. 85” by Edward Elgar, which were especially important to her in mourning her mother’s death. She developed a deep connection to these pieces that she played while grieving. “Many people say music has healing power for audiences, but I think it has even more healing power for performers,” she said.
During her masterclass, Ms. Wei coached bassist Nathan Nicholas ’23 in technique, musicianship, and artistry. “I was showing him how to incorporate the whole stance and how to use the body differently so that he can create a sound with more depth,” she said. “And then we were talking about vibrato: how he can have more variety of vibrato to bring out a more singing quality of the sound.”
Ms. Wei also shared injury-prevention strategies with other members of the class, pulling from her experience of an overuse injury that forced her to scale back her playing. “I created this effortless way of playing the bass,” she said. “It’s coming from the idea of developing Chinese Kung Fu technique, with incorporating the breathing technique, to develop internal strengths.” She hopes to show how musicians, particularly bassists and cellists, can use their bodies to reduce tension.
Carpal tunnel syndrome, tendonitis, and other overuse injuries are very common among musicians. “There’s careers that have been cut short because of it,” said Shawn Yang ’24, an Arts Concentration violinist who attended Ms. Wei’s masterclass. “If you’re injured, you’re not able to perform your best, and, therefore, people don’t really want to hear you play.” By focusing on specific techniques to minimize tension, musicians can avoid facing the harsh reality of injury.
Yang, who has been dealing with overuse injuries over the past few years, said, “It’s something that’s never really addressed; I think it’s swept under the rug. And I think it was really wonderful to hear her address these issues and propose some really great methods for technique and playing in general that can alleviate these injuries.”
When playing, Ms. Wei emphasizes breathing through the diaphragm and utilizing the entire body — not just the wrist. Audience member and Latin teacher Ms. Diana Beste noticed how Ms. Wei’s movement was integral to her performance: “She’s a very physical performer, so to me, it was really interesting the way that she was not only playing music but also performing with her instrument.”
“Ms. Wei taught me how much power and emotion a bassist can express. Her level of familiarity with the instrument is something I hope to achieve one day,” said Nicholas. Ms. Wei’s advice for aspiring musicians, regarding both injury and passion, is clear and sincere. “If you really want to be a musician, you will be a musician.”
