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Simón García: “Music Is for Sharing, and It’s Not a Competition”

Abstract:

Simón García, a distinguished musician with a rich background in classical and contemporary music, traces his musical journey from early childhood to becoming a versatile double bassist. His progression from classical guitar to the electric bass and, eventually, the double bass is marked by a profound love for the instrument. Notably, faced with a scarcity of double bass programs in his small hometown, García’s commitment led him to travel to another city for dedicated studies, demonstrating a tenacious pursuit of his passion.

The genesis of García’s compositions for the double bass arises from a desire to expand its repertoire beyond classical and baroque arrangements. Motivated by his love for chamber music and collaboration with fellow musicians, García embarked on a mission to create original compositions, initially influenced by jazz styles. His compositions evolved to encompass a myriad of genres, reflecting his exposure to diverse musical influences, such as Arabic, folk, and pre-Hispanic music. García’s openness to commissions, even those seemingly challenging, attests to his continual growth and adaptability as a composer.

Despite García’s self-proclaimed diversity, he emphasizes the emotional core of his compositions. Drawing inspiration from various styles, including the works of Bach, John Adams, Steve Reich, and Mozart, García’s compositions are marked by clear melodies and a deliberate use of effects. His compositions for chamber music, ranging from duos to twelve-member ensembles, showcase his innovative approach to building tension through the number of double bass performers, leaving a lasting impact on audiences globally.

García’s reflections on the double bass as a solo instrument underscore the instrument’s evolution into a prominent role, challenging contemporary players with exciting compositions. Expressing gratitude for the collaborative relationship between composers and musicians, García views himself not merely as a composer but as part of a team, aligning his vision with the increased potential of modern double bass instruments.

Looking ahead, García shares glimpses of his diverse projects, including a commissioned piece for soprano and double bass, a jazz trio CD, and a unique flamenco show titled “Ojos Negros.” Despite the challenges posed by the pandemic, García’s commitment to sharing music and life remains unwavering. His advice to aspiring double bassists emphasizes the importance of viewing music as a collaborative venture rather than a competition, fostering a continuous learning mindset for limitless growth.

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Publication date:

ISSN: 2792-8349

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International Journal of Music