Web comment by the composer: "I have always had a great focus on writing so that the double bass is not covered by the orchestra, perhaps the biggest challenge besides the artistic one when it comes to composing a double bass concerto. This has meant a great focus on dynamic balance, instrumentation details and movement type and not least the focus on form and form parts. An obvious part of the form is the solo cadenza. In another part there is a duet with a solo viola and in other parts the double bass plays above one coordinated string orchestra I have also used a technique similar to the concerto grosso/concertino form where a smaller ensemble accompanies the soloist alternately with tutti parts where the soloist does not play. With this as a basis, I have aimed to create varied music in the different parts, music that both makes use of the nice melodic high position on the contrabass and slightly tougher playing in the middle and bass register. The soloist Dan Styffe's bass was built around 1580 and has a fantastic reverberation that I took advantage of from time to time in the piece and especially at the end when he presents each of the loose strings that are allowed to sound out before the last movement with his fast tempo and his big drama begins. The solo part is seasoned with pizzicato, flageolet playing, double grip etc. in various places in the work. The collaboration with Dan Styffe has been very enthusiastic and we have had extremely close contact and met on several occasions during the creation of the work. Among other things we met a couple of times in the Oslo concert hall and then I heard the solo part from the stage while I walked around the entire hall to listen to how different parts of the solo part came out. It was very educational. Styffe has also been a great inspirer all the way and is of course an important part of the concert being designed that way."
Rolf Martinsson
Sound samples: Dan Styffe, Oslo Philharmonic, conductor. Jukka-Pekka Saraste (live recording)
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