Until the 20th century, across various stylistic periods, European musical language predominantly favored agile instruments capable of convincingly performing intricate melodic lines in higher frequency ranges as leading or prominent voices. As a result, the double bass, known for qualities quite the opposite of these requirements, rarely appeared as a solo instrument.

During the Baroque and Classical periods, Johann Matthias Sperger, Carl Ditters von Dittersdorf, and Johann Baptist Vanhal — all double bass players themselves — wrote the first sonatas and concertos for the double bass or violone, a related instrument from the 17th and 18th centuries. Later, Italian audiences were captivated by conductor and double bass virtuoso Giovanni Bottesini, who is now considered the most important Romantic composer for the instrument. During opera performances, which he conducted (including the premiere of Verdi’s Aida at the opening of the Suez Canal), Bottesini would often perform dazzling variations on melodies from the operatic arias in the foyer during intermissions.

Even today, composers mostly write on commission or at least with a specific performer in mind for the premiere, and this is true for the works featured on this album. Bassouvenir by Nenad Firšt and Tango for One by Leon Firšt were written for the renowned soloist and university professor Zoran Marković, who played a key role in advancing double bass performance in Slovenia. Svašta by Nejc Kuhar was first performed by the composer’s former high school classmate, Iztok Hrastnik, now a member of the prestigious Vienna Philharmonic Orchestra. I’m delighted that two works on this album came about at my invitation — Matija Krečič composed The Sky Is Black, the Earth Is Blue for double bass and piano for my tour as part of the GM Oder series in 2015, while Iztok Kocen composed MF?-MF! for solo double bass specifically for this album in November 2024, with its stage premiere still awaiting.

Nonetheless, I believe there is a fundamental difference between the aforementioned works from the Baroque, Classical, and Romantic periods and the contemporary compositions presented on this album. In the Classical era, double bassists composed concertos to enable themselves to perform as soloists. The extraordinary Bottesini dazzled audiences with virtuosic feats that defied the instrument’s limitations. In contrast, the pieces on this album are written specifically for the double bass, taking into account its sonic and technical characteristics. As a result, they feel natural, logical, and convincing both performatively and musically.

Krečič’s composition The Sky Is Black, the Earth Is Blue borrows its title from a quote by Russian cosmonaut Yuri Gagarin, who used these words to describe humanity’s first view of Earth from space. The work does not place the double bass in a distinctly dominant role but embodies chamber music in the truest sense of the term. Krečič successfully creates a palette of vibrant sonic colors, where the double bass and piano blend so seamlessly that they are only perceived as separate instruments in the central section, where the composer grants each a solo cadenza. These cadenzas develop into a virtuosic, energetic, and passionate concluding part.

Svašta by Nejc Kuhar, who has established himself as a leading guitarist, professor, and composer, is one of his earliest works. Yet it already demonstrates his remarkable talent for writing music that is both performer-friendly and captivating for audiences. The composition consists of blocks with contrasting characteristics, where the composer sometimes establishes transitions that are almost classically logical, while at other times surprises the listener with sudden shifts to different levels of intensity. Svašta is a piece filled with contemplative moments of tranquility, one that invites genuine dance, and a showcase of numerous double bass “tricks up its sleeve,” making it an ideal choice for a thrilling solo performance, even before audiences less familiar with classical music.

Bassouvenir features the distinctive dramaturgy found in many solo and chamber works by Nenad Firšt. It begins with a meditative, almost improvisational atmosphere, followed by a faster and distinctly rhythmic section. Here, the interplay between duple and triple time signatures creates a fluid texture. A slower section follows, often illuminated by a recurring major sixth chord despite the absence of a clear tonal center. The reprise of the faster, rhythmic part concludes with a virtuoso coda in thumb positions, humorously retreating into silence.

MF?-MF! by Iztok Kocen might initially seem like a piece that mischievously forces the performer into gymnastic maneuvers due to its virtuosic leaps between extreme registers. However, it quickly reveals the composer’s refined sense for a nearly Puccini-like melodiousness through a few simple high tones supported by an irresistibly engaging rhythm in the lower register. The final section, which could be called a coda, can be interpreted as an homage to the composer’s early rock music endeavors.

Leon Firšt is one of the rare composers capable of crafting highly imaginative and top-quality music in virtually any style. His oeuvre includes several tangos or tango-inspired pieces, among them the outstanding Concerto Tango for piano trio and symphony orchestra. As he noted in a commentary for the premiere of Tango for One, he began his compositional journey at a very young age by writing for a tango quintet, and this style has continued to inspire his search for new musical ideas. Tango for One offers a unique imitation of the instruments typical for a tango quintet, initially appearing in fragments and gradually coalescing into the characteristic dance rhythm.

With his extensive body of work, Ivo Petrić made a significant impact on Slovenian instrumental music. As a composer, founding member of Pro Musica Viva, artistic director of the Slavko Osterc Ensemble and the Slovenian Philharmonic, and editor of the Society of Slovene Composers’ editions, he played a crucial role in promoting new music and influencing the development of contemporary Slovenian art music. In an interview upon receiving the Prešeren Award for lifetime achievement, he stated that he wanted “to give as many instruments as possible material that is fun to play and allows them to showcase their abilities.” Solo per contrabasso is a representative work from his modernist period, which, under the guise of aleatoric freedom, conceals a clearly structured dramaturgical idea.

In short, this is not an album by a double bassist — it’s an album of great music.

Miha Firšt 

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Colophon:
Publisher: Janus Atelier
Producer: Matej Haas
Recording and Editing: Matej Haas
Design: Matija Kovač
Photography: Lea Remic Valenti
Recorded at Narodni Dom Celje and Radio Slovenia
This album was created with the support of the Ministry of Culture of the Republic of Slovenia, Hiša Kulture Celje, and Radio Slovenia.