Nina Bernat, a rising star in the classical music world, has been lauded for her role in transforming the perception of the double bass as a serious solo instrument.
Introduced by Soovin Kim, the Artistic Co-director of Chamber Music Northwest, as someone who has made significant contributions to the double bass community, Bernat defies typical expectations with her youthful presence and undeniable confidence.
At only 25 years old, Bernat has already established herself as a formidable talent. Last summer, she participated in the Protégé Project offered by CMNW, which aims to foster and showcase emerging musicians in various disciplines, including solo performance and chamber music.
The acclaim she has received is remarkable; she has been recognized at competitions both domestically and internationally and acclaimed as a “poetic powerhouse” by ArtsWatch reviewer James Bash.
Over the past year, Bernat has showcased her versatility by performing five different pieces across four concerts. Her repertoire has included a masterful rendition of Bach’s Cello Suite No. 5 in C Minor, the world premiere of Alistair Coleman’s Ghost Art Canticles, the delightful Duet for Cello and Double Bass by Rossini, and Giovanni Bottesini’s Gran Duo Concertante for Violin, Bass, and Piano.
In a recent interview with ArtsWatch, Bernat shared insights into her journey as a musician, the influences that have shaped her, and her aspirations.
Raised in a musical family, Bernat’s path to the double bass was significantly influenced by her father, Mark Bernat, a Juilliard graduate and distinguished performer in his own right.
She initially began her musical journey on the piano but soon gravitated towards the double bass after being inspired by her father’s work, noting, “He taught me pretty much everything I needed to know about playing the bass.”
Bernat reflected on the importance of having a practicing role model in her house, saying, “Having somebody as an example of practicing every day was very helpful in my development.”
Her current instrument, a noteworthy double bass attributed to the late 18th-century Italian luthier Guadagnini, comes from her father. She explained, “My instrument belongs to my father, but it’s mine to use.”
For performances, she utilizes a travel bass that can be disassembled, allowing her to transport it conveniently through air travel—a solution she has found effective thus far.
Bernat describes the fulfillment she feels in living her dream as a soloist, chamber musician, and educator. “It really feels like I’ve gotten to the point where all the work I’ve put in has paid off,” she stated, expressing gratitude for being able to engage in activities she enjoys daily.
In addition to her performance career, she teaches at Stony Brook University, where she can follow her students’ growth over time—a position she finds deeply rewarding.
As a performer standing at 5 feet 2 inches, Bernat frequently encounters questions about whether height is an obstacle in mastering the double bass, an instrument historically dominated by taller individuals.
She has addressed this misconception eloquently: “I think that stems from the fact that this has been a predominantly male instrument.”
Bernat emphasizes the importance of body accommodation in music: “Everyone has a different body, and you have to figure out how to make your body do what it needs to do to play the instrument regardless of your height.”
The challenge of breaking down such barriers is vital to Bernat’s mission to reshape the image of the double bass in the classical landscape. She embraces her role in pushing boundaries, noting the increasing visibility of women players across the spectrum of instrument size and skill.
Bernat relishes the opportunity to play music outside of the traditional supportive role associated with the double bass. An example includes Coleman’s Ghost Art Canticles, where she takes center stage and plays melodies higher than her cello counterparts. “I have some really beautiful soaring melodies,” she shared, highlighting the unique opportunities that come with contemporary compositions.
At the same time, Bernat respects the various roles the bass plays within ensembles. In the Nonette II by Olli Mustonen, she described her role as more traditional, focusing on rhythmic support rather than melody.
The interplay in the duet with cellist Paul Watkins for the Rossini piece was another delightful experience for her. “Playing with Paul in the Rossini was so much fun,” she shared, noting the humor and liveliness that characterized the performance.
Similarly, performing the trio by Bottesini allowed Bernat to explore virtuosic collaborations, stating, “Even though I’ve played the piece a number of times, [Ben’s] musicianship brought it to a new level.”
When it comes to her favorite repertoire, Bernat expressed a particular affinity for playing cello music on her bass. She finds immense joy in performing pieces composed for two cellos, such as the Schubert cello quintet and Brahms’ Sextet, appreciating the challenge of stepping into the role traditionally occupied by cellists.
While she acknowledges well-known works like the Trout Quintet, she humorously wishes for variety in programming, noting how often she encounters it during summer performances. “The problem is that cellists don’t like their jobs taken away from them,” she joked.
With a keen awareness of the double bass’s limited repertoire, Bernat embraces the creative task of transcription. “The bass is such a versatile instrument,” she explained, remarking on composers’ excitement when discovering the instrument’s range and capabilities.
She acknowledged that not all transcriptions translate perfectly from one instrument to another but views the adaptation process as an enriching challenge. “There usually is a way to make it work,” she concluded, reflecting on how interpreters can reimagine pieces for the bass.
Currently, Bernat is working on an album that features her transcription of Prokofiev’s Five Melodies, originally for voice but adapted by her for the bass. She emphasizes the bass’s potential as a singing instrument, able to cover a wide spectrum of vocal ranges.
As Nina Bernat continues to flourish in her career, she remains a vibrant presence in the world of classical music. With numerous accolades and collaborations under her belt, her journey is just beginning, and the future looks bright for this dynamic artist.
As she looks ahead, Bernat is excited about potential future commissions and collaborations, highlighting the continued evolution of her artistic journey.
image source from：orartswatch
