An Interview with Dritan Gani

Dritan Gani is an Albanian bass player, living in Turkey, of the 21st Century. He has performed many different concerts and festivals in many countries over the years. He teaches, conducts string orchestras, gives recitals and performs in many orchestral festivals - as well as being a member of the European society of bassists. 

I chose Dritan Gani for this interview because his career is the perfect example of all the different things you can do for a living as a classical bass player. 

1. Which musicians influenced you?

There are some musicians who may have played a dominant role in my formation as a musician directly and indirectly. Being a former cellist I liked immensely Mstislav Rostropovich (RUS) as a complex figure in cello playing and as such I always liked Rinat Ibragimov (RUS). I like Catalin Rotaru (ROU) on double bass because of the virtuosity he plays on the instrument. Someone who has also influenced me is David Heyes as a musician with endless horizons and always great ideas with welcoming projects from the world of double bass. In fact anyone who collaborates with me leaves me something I can use in the future.

2. As a musician every day is different, Describe one good day 

I work as an orchestral player in the first part of the day in a professional orchestra(Bilkent Symphony Orchestra/Turkey) and then as a teacher in chamber music, two roles that converge with each other in musical formation. In the second part of the day I work in my room on solo materials for concerts and recordings, something that I often prefer to do. This is an example of a day at a maximum load. As you can see it leaves nothing to be desired but I would say an ideal day for me would be when I decide to do a recording and in the morning I have no rehearsals with the orchestra. I focus only on video production and recording.

3. When did music become important to you?

I can say that music has always been an important part of my life, I cannot drive a car without music at any distance and I like to have music in any environment. For classical music I can say that I enjoy it when the level of concentration is high and when I work with it with all the forms I mentioned above in my day's work. It is exactly the time when I realise that through it you can express all your feelings, ideas, dreams, desires, communication of your sensitivity with the real world, the listener - whether a student, colleague or spectator. The moment you find yourself within it as the main means of expression and feeling you realise that its importance is absolute for you.

4. What or Who inspired you to switch from cello to bass, and why?

At the time (14 years old) I was a cello student but the preparation to enter high school was not enough for many reasons and the double bass teacher (his name is Filip Koleka) who had also been a cellist suggested that I make this change. His experience and the launch of a new instrument made my commitment greater to reach the level that I wanted. With the completion of high school in the competition for admission to the Academy I was the first among 22 candidates. I can say for sure that the cellist background has helped me to this day in the way of playing the double bass and technically I feel much more prepared. This is also the reason why often in chamber music formations such as trios or quartets I enjoy playing the original cello part on double bass.

5. What advice would you give younger bassists? 

First of all, having the desire for unlimited work as well as strong discipline guarantees the continuation of studies. To be open-minded towards any kind of experience and to know how to do it on their own. To always have a critical spirit towards their work and make sure to analyse any kind of shortcomings or obstacles that may appear. This develops an auto control and evaluation of the materials that they study. To always have a sense of understanding with teachers by showing respect and readiness for joint work, making sure they have maximum concentration of their requests as soon as possible, eventually seeking to be real partners in daily work. To listen as much as possible to different repertoire from different soloists. Also making sure to have a good relationship with other students of any level and a diverse social life with musicians and non musicians. Every kind of life phenomenon that surrounds us should be seen with interest and curiosity by introducing ourselves in a good relationship with them. All these I believe will form the necessary baggage for the future, and will be able to realise in our instrumental playing.

6. What do you enjoy about contemporary music?

I see it as a mission to creatively unravel the meaning of the work by first confronting the composer who wrote the piece, his style, his background with my ideas. The primary concept of a contemporary work is the technical difficulty that often influences the desire to play it, but we must always see what is behind it, besides the difficulties, and this in most cases, is like a challenge for me which I want to overcome. In my opinion for a musician it should be like a mission to play contemporary music which we have to understand and properly practise as much as possible to preserve the historical musical continuity, after all it is the real music of our life.

7. How did you discover contemporary and different styles of music, and how accessible was it to get a hold of?

Almost all music programs in schools are based on music history and the era that classical music has gone through from early music, renaissance, baroque, classical, romantic, modernism, contemporary and didactic, melodic, methodological technical elements have been always evolving and seen in a new light in different eras. This has led to the development of musical pieces to the techniques of modern play, it summarises all other ways of playing the instrument as well as new innovations by contemporary composers. Festivals bring together musicians from all over the world who bring their experiences. Playing at these events and attending them is the best way to get to know and listen to contemporary music. This was the way I chose to enter this wonderful world by personally meeting the authors of this music and exchanging experiences. It all enriches the double bass repertoire exponentially thanks to the excellent work of composers such as Simon Garcia, Teppo Hauta-aho, David Heyes, Andres Martin, Frank Proto, François Rabbath, Miloslav Gajdos, Bernard Sales etc.

8. Is there any composer you have not worked with that you wish to?

In recent years I have had the good fortune to know and play with many double bass players and composers, thanks to the activities organised on a private and European level or digitally through the internet (and I note with pleasure that their number is increasing) . I can say that Andres Martin (ARG) is definitely one of them with whom I would like to have a direct collaboration. The quality of his work summarises the Latin spirit, contemporary techniques and excellent cantilenas that transmit strong human messages of life. I am sure that in the future I will have the opportunity to work with him in some way and maybe play together, why not.

Questions from Holly Reinhardt

Dritan Gani (19 June 2022)