

The Holberg Suite contains the first appearance in our group of the new chamber bass tuned in fifths, G-D-A-E a fourth below the baritone or cello and two octaves below the violin. The rationale behind this new instrument was to create a bass that didn't have the massive and sometimes cavernous sound of the standard orchestral contrabass, and one that would blend seamlessly with the higher instruments in the ensemble.
As the video plays (and please listen through good speakers or a high-quality headset), pay particular attention at 1:42 and again at 3:08. There is a passage at these times in three-part writing for tenors, which have the upper line; baritones, which take the middle part; and the chamber bass (or bassetto) as the lowest voice. We think you will find that the blend of the bass-- in fact, the blend of all three voices-- to be remarkable.
You'll see the bass on the right behind the tenors and baritones. Note that the bassist is playing seated. We were surprised at this because we assumed that the player would either stand or use a stool, as most bassists do. Since this recording was made, several others have tried the chamber bass, and all prefer the searted position regardless of whether they are bassists or cellists.
In case you were wondering whether this small bass has enough weight in its lowest register to serve as a bass instrument when needed, watch this video at 2:40:

The first chair players of the New Violin Family Orchestra after a concert on August 1, 2009 in Ithaca, NY. (L.-R.) Angela Early, soprano violin; William Hurley, mezzo violin; Jaime Kibelsbeck, alto violin; Sarah Hummel, tenor violin; Elisa Evett, baritone violin; Graeme Bailey, bass violin; Paul Feissner, contrabass violin.