Year of composition
I have always believed that the double bass is an instrument with numerous expressive possibilities yet to be discovered. In the orchestra, we are accustomed to hearing a double bass deep in the lower register playing long notes and a few pizzicatti. My challenge has been to write a concerto where all the registers of the double bass stand out, emphasizing the lyrical qualities of its fourth string, the deepness of sound of the first string, the special effects, harmonics, pizzicatti, glissandi,etc…all at the service of a concerto in which the orchestra has an important role, either in dialogue with, or accompanying, the soloist.
I chose a wind orchestra in order to facilitate the projection of the soloist’s timbre, as the instrument has a dark sound which can be confused with a string accompaniment. The double bass player, Jonathan Camps, offered to show me the possibilities of the instrument. His sound, vibrato and modern technique fascinated me, and encouraged me to compose this concerto.
As in all concertos, my main concern has been to show as far as possible the expressive possibilities of the instrument. However, the orchestra has a very participative role, also taking great care of the balance with the soloist.