The Latin American Double Bass
Enrique Schadenberg
Cuatro poemas eróticos de un contrabajo a un contrabajista (2023)
[Four erotic poems from a double bass to a double bass player]
is a work whose text has the power to be both poem and score. They are four moments that are configured from verbs in imperatives that deploy actions and imaginations, reiterations, whispers, songs and dispositions that become sound when sharing the stage. A poem-score that seeks to listen to the bodies of the double bass and the double bass player to raise listening experiences. It is dedicated to César Bernal, dear friend with whom from affection and commitment we have (re)sounded in diverse experiences and experimentations.
Claudia Sofía Alvarez Cuba
Raíces al infinito V [ roots to infinity V ]
is the fifth exploration that arose as a personal reflection that reflection that was born after the observation of the adventitious roots of the trees of the Peruvian jungle. This type of roots are born and develop above the soil, instead of under it, but keep in contact with it. but keep in contact with the soil in order to absorb nutrients and water from it, fixing and water from it, fixing itself to it, but expanding above it, without burying itself. Such a phenomenon led me to draw a narrative that has an obvious analogy with the birth, development analogy with the birth, development, reproduction and eternity of being, expressed in four sections: Emerging from nothingness, Rooting in the deep, Branching out and Expanding Rooting in the deep, Branching out, and Expanding to infinity. Each one of them different textures and gestures that are conjugated with different vibrations that evoke the nothingness evoking nothingness, the deep, the multiple and the infinite.
Sebastián de Larraechéa
Huellas (2018) [ Traces ] for double bass
is a work commissioned by Cesar Bernal, which belongs to a series of works for solo instrument, which works from the possibility of building a sound story from what remains, the footprint as a remnant of another action, the footprint as a trace often unwanted, not thought, but which in turn allows to build memory and path. Traces for double bass, seeks a dialogue with the sound produced by the train of the window foundry that passes through the area of Punta de Piedra in Quintero and that drags all an impossibility of inhabiting and with it temporary dystopias.
