Palembang, Indonesia,

Largo from New World Symphony, Dvorak

Arranged by Margaret Dryburgh

Sources:
1. Image of a page (musical score) what has been restored after
World War II. Just one page and not all can be read very well.
2. Arrangement of Norah Chambers
(https://singers.com/folio/Margaret_Dryburgh/Song_of_Surviva
l_Vol__1/312-41771/)
Margaret Chambers was the one who initiated the chor-
orchestra in the womenscamp. After the war she arranged the
score to save it for the future.
3. Read more about background:
1. https://library.stanford.edu/blogs/stanford-libraries-blog/2015/05/songs-survival-
vocal-music-women-pows
2. https://en.wikipedia.org/wiki/Margaret_Dryburgh
4. Youtube video with a performance of the piece. This to get an idea about tempi being
used: https://www.youtube.com/watch?v=mlAdKag8Slc

These sources were input for a transcription for 4 (opt. 5) doublebasses.

Rules:
– try to get, as much as possible, the sound image of a women's choir. These women
were living in women prisoner camp under Japanese occupation in WorldWar 2.
Forbidden to speak aloud or make noice. They were very vulnerable in this
enviroment. The fragility, hesitation and modest joy may be heard.
– There is a mark to sing “nuh” (In the version of Norah Chambers “le”). To be
transformed to double bass by these choices:
The piece has an ambitus of about 2 octaves. That brings the 4 voices very close
together.
To avoid muddiness and keep the same character:
– precise intonation. Use harmonics were possible.
– No open G-string (sounds to different). Better use G on D-string.
– Strive for a clear core in the tone. Not loud.. lots of overtones (like a woman's
voice):
– not to much weight on the bow
– a bit higer speed
– closer to to the bridge
– upper half of bow.
It may sound a bit “thin”. Together that's OK. Otherwise it will get too much too fat
– Loudness: ppp → pp. Only in last measures crescendo to ff.
– Vibrato is not forbidden, but keep it very modest to avoid contrast with harmonics.
(and if vibrato also on harmonics. Just make the same movement, keeping light
contact with the string).
– Some parts are in three voices only. Nice place to add a fourth voice. This is done by
doubling a voice in highest register (harmonics).
These harmonics are not hard to play. But it is optional.

Measures 1 → 9
– Introduction.
– Start without any accent, upbow, risk that the bow does not grep.
– Complete “close harmony” is called for. Like a little organ, swelling and keeping
the last tone for a short fermata. Portato playing, keep the movement. But take
care. It is very slow, so avoid to get faster.
Have a breath before playing further.
Measures 10 → 17
– The melody is in the middle voices. Every body should hear it, also when it is
very soft (pp – mp)
Measures 18 → 25
– Originally in 3 voices. The harmonics in the highest register should be hardly
audible. It is like wisp of fog over the fields. You know it is there, that is enoug

Measures 26 → 37
– g, d en a (higher register). Go for harmonics. Thumb on b (G-string). C# is under 2.
Use d and a harmonic.
Same for highest part (CB1). Harmonics a and d under thumb. 1 and 2 for e and f#. b
is on A-string under 2. And g harmonic under 3.
– The highlight (loudness) of this part is around measure 31. then decreasing to 37.
– Norah Chambers writes here “with feeling”

Measures 38 → 45
– finish the first part.
– Slowly diminuendo and a little ritenuto.

Measures 46 –> 58
– “quicker and flowing”
– Faster, somewhat more “attack”. But stay close to portato.
– Attention for the triplets.

Measures 58 → 65
– Reprise of first part of largo.
– We go to the (s)lowest part of the piece. In three steps the music almost stops.
tempo 45 in measure 74.
Together with diminuendo in same steps.

Measures 75 → 84
– Rebuilding the beginning to go for a big crescendo finale.
Attention. Keep the pace, no accelerando.

Adaptions made to make it “playable” on double bass:

– Everything is one octace lower (sounding). The score is same heigth.
– Everything up to thumbposition is written in key of F (bass). Highest tone is “a” to be
played as a harmonic on D-string (better then octave harmonic on A-string).
– Everything in thumposition is written in key of G (treble.

The harmonics in CB5 (optional).

– These can all be found at the end (of just after the end of the fingerboard).
– Thumb on/above double octave of the string.
– F# is on D-string (1)
– G# is a bit tricky. First finger on E-string. To get the upper octave hold the thumb on
the E-string (around the D-D#) that dampens the lower octave.
– A is on D-string (2)
– High “d” is on G-string under 3. At the same time thumb lightly on the lower D-
harmonic.

Rekken, Eef Weenink, 18-5-2020