Page 16 - Phil 22-23 PROGRAM BOOK Nov5 digital proof_Neat

options to perform together with the orchestra. Very quickly, they both enthusiastically
settled upon performing the García concerto.
Born in Murgardos, a small fishing village along the windswept Galician coast of northern
Spain, Simón García is one of the most interpreted, international composers on the double
bass scene today. His soulful, virtuosic music has been performed in 38 countries on four
continents. With dozens of solo and chamber works for his primary instrument (and in
combinations of up to four double basses with orchestra), García excels in jazz, classical,
and Spanish folk contexts.

García has accepted commissions from concert bands, orchestras, and dramatic
ensembles: his three largest productions have been Acaraperro: Theater Music for
Symphony Orchestra and Electronics (2001), Belulo: a narrated oratorio for children’s choir,
orchestra, and media (2015), and Flamenco Show for two double basses and dancer (2020).
Most of his works have their dramatic foundations in insistent, rhythmic accompaniments
that approach the minimalism of American mavericks Philp Glass and John Adams.

A conservatory graduate (Salamanca, Spain) and symphonic musician, García has played
with the National Orchestra of Spain, the Spanish National Ensemble of Contemporary
Music, the Royal Philharmonia of Galicia, and he performs regularly with the Municipal
Band of A Coruña (since 2009). Recent master classes given by Mr. García include
conservatories and festivals throughout the US (California, Texas, Colorado, New York) and
Europe (London, Copenhagen, Lucca, Barcelona).
This Concerto for Amplified Double Bass, composed in 2019 and premiered during a live
recording by the LUCA Camerata, is dedicated to Diego Zecharias, a contemporary master
of the double bass from Uruguay. Zecharias led and soloed in the premiere (available on
YouTube), sitting at the center of a halo of a dozen strings onstage at the Lugo Circulo de
las Artes (Galicia, Spain) in 2020.
This concerto crosses over to the harmonic world of jazz without abandoning its European
classical roots. Written in blues- (and Fado-) influenced tonal language, the opening slow
introduction transports us to Baroque Spain. Its intimate scale and delicate variations over
a gently pulsing backdrop give way to nine minutes featuring a solo double bass part full of
expressive slides and jaunty double- and triple- stops.
The gorgeous eight-minute second movement is contemplative and lyrical: it returns to the
opening stately march (in the accompaniment) while expanding the soloist’s voice through
delicate harmonics, plucked motives, and exciting pauses.
The five-minute finale sets up a flamboyant, syncopated series of motives interspersed with
dance-like slaps on the body of the solo instrument. The opening cadenza finally allows us
to hear the composer’s own solo performative style; its harmonic and rhythmic motives are
developed by the full ensemble, lifting us to a rousing climax.

PAGE 14 Plymouth Philharmonic Orchestra