NEWSTICKER
I will keep this page as information source for some events that are going on in my professional life for those who would like to read about it. This page is divided up into the following categories:
- NEWS
- TOOLS
- STUDENTS
NEWS
Now you can follow Božo Paradžik's projects better than ever before on Instagram! Although this website is regularly maintained and updated, the Instagram account offers much more: one can now follow the projects already since the creation stage, throughout the development. Preparations, practicing, concert travels, but also everyday's topics like some details about the lifestyle, hobbies, or leisure. Visit Božo Paradžik's Instagram profile already today and if you don't want to miss anything, please subscribe:
2024-2025 | what is Božo Paradžik busy with?
The project "Double Bass Goes Brahms" has started as "a simple" recording of three Brahms sonatas on double bass with piano, which was released on a Super Audio CD in 2016. But the project was then gradually expanded and has now become one of the largest double bass projects ever and will greatly enrich the concert literature for double bass as a result. In the meantime, works by Johannes Brahms totalling over 8 hours have been successfully adapted for performance with the double bass. The Brahms project is still in full swing in 2024/25.
Did you watch the most recent releases on Božo Paradžik's YouTube channel? Check here:
TOOLS
People ask me quite often questions regarding my instruments or other tools. Here are some of the most answered FAQs:
BOW
Since 1993 all the bows I have used were built by the same maker: Master Milan Oubrecht. The sonic characteristics of these fine bows are graded according to register height (e.g. from the darkest sounding bow that is ideal in the lowest register to the bow that sounds ideal in the highest register: crisp, crystal clear and very defined). My choice of the bow is made according to the repertoire or the acoustics of the respective concert hall.
INSTRUMENT
Until 2000 I have used a historic double bass, built around 1780-1790 probably by a maker from the Klotz family. Since 2000 I have been playing mostly on an instrument built exclusively for me by the master Derek High, which, unlike the historical double basses, was built with tonal characteristics specifically for solo playing.
ROSIN
As I dislike all sticky rosins, I am using at this moment Liebenzeller Metal Rosin, which performs quite differently if compared to the sticky type of double bass rosin produced by the well-known brands. This rosin is available in six hardness grades. The hardest available is "I" (1) and it is too hard for double bass. The grade "VI" (6) is the softest variant (comparable to Kolstein AW, slightly harder than Pop's). Liebenzeller Metal Rosin does not produce much dust, so it is less dangerous for the varnish of the instruments. Type "Lapis V" (hardness is comparable to Kolstein H, but it isn't sticky and it doesn't melt) is my favourite type for solo playing. It sounds very crisp and clear, with good definition of the overtones. It lasts on the bow hair and works as it should for quite a long time. Lapis IV would be imaginable to work in the extremely high temperatures. Please mind that I am using low-tension gut (or natural silk) core strings, which are behaving very different than the high-tension steel core strings. I am here just sharing the information about my tools, which are matter of my personal taste and may not match the needs of another players.
STRINGS
Since 2010 until today I was using exclusively hand made low-tension gut core strings by Gerold Genssler. Occasionally I have played also on his strings with synthetic core. The string maker stopped using the gut core in 2019 and switched completely to silk core, which works very similarly. These strings have much less tension and put less strain on the instrument (25-30% less, compared to the popular steel core strings). These strings have also an extremely long life span and keep their tonal characteristics over the whole time: the first set of gut strings is still on my 5-string and has been working perfectly for almost nine years now (since 2011).
The last type of strings I used before was the Thomastik Dominant solo tuning (synthetic core). These strings produced a little less tension than the steel strings (felt 5-7%), but due to a design flaw they tend to break without warning. Dozens of strings of this type have broken, regardless of how long I have been using them (back then, usually I rarely used the strings for more than 6 months). Since the Thomastik company has increased the sales prices of these strings, I have not recommended them to my students anymore as the construction flaw hasn't been resolved.
SCORDATURA
Until 2004 I used the common tunings like most of bass players: in fourths tuned either without transposition ("orchestra tuning") or transposing in D ("solo tuning"). Since 2005 I have been using excessively scordaturas either transp. in F (c,G,D,A with high C string) or occasionally also transp. in G (d,A,E,B with high D string). The high tunings convert the typical bass sound into the natural baritone, with very much improved brightness and clarity, which is much better useable for solo perfomances.
SCORES
Since there were practically no works for high tuning in the original literature, I have successfully adapted, performed and published a number of the works of the mostly world-class composers as sheet music, usually in unchanged form and key. Nearly all my scores were at some point written down with the help of suitable notation software and they are getting available one by one in my online shop
PRIVATE LESSONS
Generally, I don't teach privately. I am very busy teaching my students at the music university. In addition, I belive that regular teaching week by week over longer time is the only way for students to really reap the benefits. Players who can't study with me but would like to get lessons from me have the opportunity to enroll and participate in one of my masterclasses.
STUDYING
Young and very talented musicians who are very motivated and determined to work hard over several years should at any time apply to the enterance examinations on either of the Universities where I teach as professor for double bass: Musikhochschule Freiburg (D) or at the Hochschule Luzern-Musik (CH). Besides the required skills in double bass playing and the knowledge in theoretical musical subjects, it is also very important to know, that the communication skills in German language at least on the B1 level is required at either of the conservatories. Besides that, there are also some specific requirements for the enterance examinations in Freiburg as well as for the enterance examinations in Luzern.
Practical information: students with tight budget should mind that it is usually much easier to organise the money for living costs in Lucerne. Although the average prices and life standard in Switzerland are somewhat higher than in Germany, Switzerland has generally many more culture foundations where international young musicians can apply for the support. CIty of Freiburg belongs to the most expensive German cities, it is especially difficult for students to find an appartment for fair prices. Mini jobs in Germany are paid very badly compared to Switzerland, also the possibilities for the double bassists to earn money as a musician are also much better in the central Switzerland. Tuition fees for non-EU residents are a lot higher in Baden-Württemberg than in Lucerne.
The candidates for studying should try to contact me on time, rather a year or two in advance instead of just short before. Summer masterclasses are the best way to getting knowing your further teacher before such a big decision that will have influence on young person's future career.
At the moment, estimated amount of places to study in the next enterance examinations on my conservatories term looks as following (please mind that the application deadlines are usually at least 8 or 10 weeks before the enterance examinations):
- Musikhochschule Freiburg: 2 studying places are expected from April 2025 | entrance examinations on February 25th, 2025 deadline for the applications: 1 Dec 2024
- HSLU-M Musikhochschule Lucerne: 1 or 2 places in the class estimated from September 2025 | entrance examination: spring 2025, deadline for the applications: 28th February 2025
last update: 14 Dec 2024 (new dates for the concerts in 2025 updated)