This concerto, as much as a vehicle for double bass virtuosity, is an exploration of the individuality of the
players within an orchestra. Through body percussion, vocalization, and some level of theatrics, the
audience is reminded of the unique perspectives of each musician present. To create a more communal
space within the concert hall, I reference key characteristics present in gospel and house music; namely,
the deliberate repetition of key melodic materials and the space within the form for audience “call and
response”.
While these influences are ever-present, the score also asks the player to switch seamlessly between
familiar styles that do not traditionally occur alongside one another. I encourage the performers to, instead
of intellectualizing the music, trust their gut and - above all else - have fun.
‘As an artist I think it’s my duty to be a part of this world,’ Charles continues. ‘I like to go out at night and just observe people being a part of it.’
