As I took my seat inside the LSU School of Music Recital Hall, I could barely contain my excitement. The hall was nearly filled to the brim, a sight I don’t see too often here at the School of Music. The atmosphere was filled with anticipation for the performance of one of my musical heroes, word-renown bassist Edgar Meyer. I have been familiar and in awe of Edgar Meyer since I first started learning the upright bass when I was a junior in high school. My orchestra teacher at that time suggested that I listen to a few professional double bassists, to explore and find the beauty in the large and technically difficult instrument I had chosen almost completely at a whim. Among the list of bassists to check out, he advised Edgar Meyer. Like any good student would, I took his counsel and immediately looked Edgar up when I got home. My eyes and ears were drawn to his album of unaccompanied Bach cello suites. Oh, how the obsession began.
     Since that first listening, I have followed Edgar’s work almost religiously. His collaboration with Yo-Yo Ma, Chris Thile and Stuart Duncan for the album, The Goat Rodeo Sessions, led me into the world of bluegrass and a high appreciation for the beauty of acoustic music. His composition of solo bass pieces, duets and concertos still inspires me to strive for a higher level of musicianship. If I haven’t made the point clear, this recital was indeed a major deal for me.
     As the audience lights dimmed and the stage lights illuminated, Edgar Meyer made his way on stage. He placed himself in upper center stage and without a word began his performance. He began his recital with Bach’s first cello suite in G Major. The opening prelude, now probably one of the most recognized classical music pieces in the world, rang throughout the hall. This prelude and the entire Bach suite is quite the rigorous and technically challenging piece, though idiomatic for the cello. Yet, for the bass, it is a true test of technical skill. Edgar performed with no sign of struggle or strife. His fingers gracefully danced around the fingerboard with ease and his bow glided across the strings as if they were butter. His interpretation and phrasing of the Bach was superb. The pulse and rhythm of each movement was never lost, so precious it was infectious. Yet, it also contained just the right amount of rubato to bring character into the playing. Bach would have been pleased.
     After the Bach, the rest of the repertoire of the recital featured mostly Edgar’s own works with a few solo arrangements of various other compositions. They all showcased Meyer’s virtuosity on the instrument with several pieces being all-pizzicato as well. The absence of the bow did nothing to draw away or take from Edgar’s performance. Each pizzicato piece blended both technical prowess and sophisticated grooves. There was no apparent limit to Edgar’s artistry.
     Following many standing ovations, Edgar returned to the stage and performed the prelude for Bach’s second cello suite in D minor. Again, Edgar’s brilliant tone and sound filled the recital hall with euphoric sounds. This recital will definitively top my list of favorites performances I have seen both at the School of Music and during my lifetime.