Michael Franz’s George Craske Bass Is (Almost) One of a Kind

By Cliff Hall | From the July-August 2024 issue of Strings Magazine

In the vintage string instrument world, there is rare and then there is rare. Michael Franz’s George Craske (1795–1888) double bass definitely falls into the latter category. William Henley wrote in his seminal book Universal Dictionary of Violin & Bow Makers that Craske crafted 2,050 violins, 300 violas, and 250 cellos—but only 20 double basses, making them notably scarce. And, as Henley notes, they “resembled magnified violins,” many of them having been altered in some way (cut down at the shoulders, breaks added in the back, and so forth). Franz feels especially lucky that his bass survived in its original form (until good modern neck sets came along to allow access to the high register without altering the body) as the big shoulders add to the air volume inside.

To deepen the mystery of his tale still further, Craske toiled in seclusion without any assistance. W.E. Hill & Sons bought his entire unsold inventory at his passing in 1888 and produced their own unusual labels that listed his lifespan. With no label in his bass to help identify it as a Craske, however, Franz had to rely on detective work by a colleague in the Philadelphia Orchestra to find its true origins.

What do you know about this instrument’s history? 

My George Craske bass is believed to have been made around 1850, when he was living (as a recluse) in northern England. Before me, it was played for many decades by William Burns in the Buffalo Philharmonic. He never knew the bass’ true origin, and it was only identified as a Craske after his passing. 

How did you come to play it? What first drew you to it, and how did you know it was the right fit? 

Long story! I first heard about the bass in 2017 when I began playing in the Philadelphia Orchestra as a substitute player. Renowned instrument expert (and now my colleague in the Philadelphia bass section) Duane Rosengard had identified it as a rare unaltered example of Craske’s work. He told me the large size could be a great fit for my tall stature and said it had enough power that even “the trombones would fear this bass.” Naturally, I was intrigued, but as it was undergoing careful restoration by Rhode Island luthier Zachary Martin, and I was a penniless student, it was only a pipe dream.

Four years later, I was ready to find a better instrument and, after visiting shops around the country, made a final stop in Rhode Island and played the Craske for the first time. It had just the right combination of power, clarity, richness, and playability. Zachary Martin worked miracles in his neck design to make the huge shoulders easy to get around. 

What repairs do you do yourself, and what is the experience like? What won’t you do?

I feel comfortable with basic adjustments to the bass (bridge, tailpiece, and C-extension) and recently learned how to close open seams. Gluing up an antique instrument seemed very intimidating at first, but luckily basses are large enough to be more forgiving than violins (and the glue is water soluble!). Beyond that, I try not to tinker with it too much. 

What gift does your instrument bring to your playing that can’t be found in any other instrument?

My bass gives me a big sound without much effort and yet can handle the hefty force of playing in the Philadelphia Orchestra without bottoming out. 

What is your instrument’s personality like? Does it remind you of anyone or anything?

I don’t have a great answer for this one, but I feel it has a gentleman farmer flair. It’s very asymmetrically built (Craske had to work quickly to make over 3,000 instruments in his lifetime!) and yet has a noble English sound. 

Does it perform better in certain situations?

Due to its large size, it excels in orchestral and chamber music. Most bass players opt for small basses with sloping shoulders for solo work. This is not one of those!

What is its greatest strength?

It isn’t lacking in any one area of the tonal spectrum. It has full low notes, a rich middle, and clear overtones. 

What are some of its limitations?

It’s not a one-size-fits-all bass. Players five feet or under would need a step ladder. 

If given the ability, what would your instrument say to you if you sat down for tea (or any beverage of your choice)?

Hopefully, it would tell me how it came from England to Buffalo and what had happened to it in its first 100 years! 

You double majored in performance and education at Eastman. What attracts you to teaching? Also, what would you share about the experience with students still in school who would like to be in an orchestra but are unsure of those prospects?

I love the process of guiding students through not only growing their skills on the instrument but also their appreciation and understanding of music in general. I try to practice what I preach and often tell my students about a fingering I was using, a phrasing idea from a great conductor, or something I heard one of my colleagues do in that day’s rehearsal that could be applied to the music they’re learning.

I grew so much as a musician by studying education. Some of the best players in my class at the Eastman School were also double majors in education and performance. Some schools sadly treat music education majors like second-class citizens, so those interested in both should choose carefully. The vast minority of musicians are full-time orchestra players, and most of them do at least some teaching. I’d encourage students to explore every avenue of making a living in music while they’re young to find the best fit for them.