Program I: The Master as Student - Bach and Vivaldi
Friday, July 27th at 7:30 p.m.
Sunday, July 29th at 3:00 p.m.

This program is presented in loving memory of Buell Neidlinger (1936-2018)


Introduttione teatrali Op. 4 No. 5 in D major                                                           Pietro Locatelli (1695-1764)
     Allegro - Andante, sempre piano - Presto


Trio Sonata, op 1 No. 8 in d minor                                                                             Antonio Vivaldi (1678-1741)
Preludio - Corrente - Sarabanda - Giga


Cantata: Cessate omai cessate                                                                                    Antonio Vivaldi (1678-1741)
     Largo e sciolto - Larghetto - Andante molto - Andante - Allegro




Trio Sonata in G major, BWV 1039                                                                Johann Sebastian Bach (1685-1750)
Allegro ma non presto
Adagio e piano


Largo from BWV 1056 for solo violin and strings                                                                                     J.S. Bach


Cantata BWV 82, Ich habe genug                                                                                                               J.S. Bach
     Aria: Ich habe genug 
     Recitative: Ich habe genug
     Aria: Schlummert ein, ihr matten Augen
     Recitative: Mein Gott! wenn kömmt das schöne: Nun!
     Aria: Ich freue mich auf meinen Tod


Reginald Mobley, countertenor
Curtis Foster, baroque oboe
Tekla Cunningham and Brandon Vance, baroque violin
Romeric Pokorny, baroque viola
Joanna Blendulf, baroque cello
Stephen Stubbs, baroque guitar and chittarone
Henry Lebedinsky, organ and harpsichord


Buell Neidlinger (1936-2018)

            Buell’s gone but his bass notes linger, on hundreds of recordings made over the course of his unique sixty year career in the music business. As a bassist, he backed many household names, holding his own in many a musical setting and genre. Quite a few of these recordings define the history of music in this country. Buell was born in New York City on March 2, 1936. His maternal grandfather was a music and publishing attorney, and Buell was exposed to many great musicians from an early age. His music training began at St. Thomas choir school at the age of seven; the same year, he commenced the study of 'cello with Felix Salmond. He became accomplished on the cello, pursuing further studies with Luigi Silva and Gregor Piatigorsky. In 1953, he attended Yale University, and while there became interested in the bass, the instrument he played throughout most of his career. Moving back to NYC in 1954, he took some bass lessons from Walter Page and commenced jazz apprenticeships playing with Joe Sullivan, Herbie Nichols, Dick Wellstood, Vic Dickenson, Conrad Janis, and Oran “Hot Lips” Page, leading to recording and performance gigs with Tony Bennett, Billie Holiday, Lester Young, Rex Stewart, the Gil Evans band, and Cecil Taylor (whose bassist he was for many years).

            In 1959, Buell moved to Boston, where he attended Boston University and studied bass with Georges Moleux, principal bassist of the Boston Symphony. An offer of a six-month gig at NYC's Five Spot with Jimmy Guiffre brought him back to NY later that year. Composer Gunther Schuller hired him to play in the historic May 16, 1960 Third Stream concert at the Circle in the Square with the Walden Quartet, Ornette Coleman, Eric Dolphy, Scott LaFaro, Eddie Costa, and Bill Evans. Schuller encouraged Buell to further expand his classical abilities; so, in 1961, Buell became a member of the bass section of Sir John Barbirolli’s Houston Symphony, and moonlighted around Texas with Arnett Cobb, Little Esther Phillips, Bobby Blue Bland, and James Clay.

            The recipient of a Rockefeller performance grant in 1964, he returned to NY, where he worked closely with composers Mauricio Kagel, Sylvano Busotti, George Crumb and John Cage to develop new string playing techniques and sounds, giving premier performances of their compositions worldwide. He also freelanced with Stokowski’s American Symphony, the City Center Opera, tours with the Budapest and Amadeus string quartets, as well as with small ensembles led by Igor Stravinsky, Karl Richter, Lukas Foss, and Schuller. In 1967, Erich Leinsdorf chose Buell to be a Member of the Boston Symphony Orchestra. That year Buell joined the faculty of the New England Conservatory of Music, where he taught bass, chamber music, and, with George Russell, established the first jazz department at a major music school.

            In 1971 he moved to Los Angeles to teach at CalArts, and was hired by Neville Marriner to be principal bass of the Los Angeles Chamber Orchestra, a post he held for eight years. He also played chamber music with Peter Serkin and the Guarneri String Quartet, as well as Serkin’s ensemble TASHI. In L.A., Buell began an extensive motion picture recording career, playing on hundreds of major Hollywood movie scores by the top composers from the early seventies to the late 90’s. He was principal bass of many studio orchestras for 27 years. (Partial discographies can be found at https://en.wikipedia.or/wiki/Buell_Neidlinger#Discography) and ; In 1978 he formed K2B2 Records with reedist Marty Krystall, for which he produced more than a dozen recordings of his jazz ensembles, which often headlined at jazz festivals in Europe and America. No matter what professional situation he found himself in, at the same time. Buell always had his own musical group as a creative outlet and to celebrate his love of Ellington, Monk, and Herbie Nichols. Jerry Garcia referred to his bluegrass playing as "Buellgrass", and his recorded string band versions of jazz tunes were heard by and influenced a generation of today's venerated newgrass musicians. In his spare time he presented master classes in chamber music playing and jazz at Aspen, Tanglewood, Eastman School of Music, Harvard/Radcliffe, NY State University, Rotterdam Conservatory and the annual San Luis Obispo String Seminar.

            Buell was larger than life. The same passion he brought to his music carried over into his relationships, sometimes resulting in fireworks. He was rarely lukewarm about anything, and he brought a full set of emotions to everything he did. He cared deeply about music and about our world. Those who knew him intimately found him to be an extraordinarily sensitive and kind man, and felt privileged to be his friend or musical associate. His wife, Margaret Storer, was also a professional bassist. They were an elite team in the recording and film studios of Los Angeles for 17 years, and even after they moved to Whidbey Island. Buell and Maggie were together for 36 years. She was his love and his rock. He also leaves behind two children from a previous marriage, Miranda Neidlinger and Mike Neidlinger; his brother, Roger predeceased him.

            In his later years, Buell played cello around Whidbey Island in all sorts of venues. He could be found playing Bach's cello suites at weddings, art galleries, restaurants, and coffee shops. Maggie started playing the violin, and Buell loved to play chamber music at home with her and his many music friends, some of whom traveled long distances to blend tones with him again, eat chocolate, and listen to his countless recollections of his long life in the music business.