“Every musician will gladly assure you that the orchestra can give up the conductor at any time, but not the double bass,” states the Man with the double bass in a sublime mood.
For a double bass player, his instrument is much more than an instrument – the double bass is like a close companion for whom one feels affection and dislike. At one point, the feelings are sublime: “What I want to achieve is the conclusion that the double bass is definitely the most important orchestral instrument of all. It doesn’t look like him. But he forms the framework of the entire orchestra, on which the rest of the orchestra can rely.” But at the other end of the feeling scale, there may be irritation and boredom: “By the way, I don’t know any colleague who has voluntarily started playing the double bass. And somehow it can be understood. This instrument is not very handy. The double bass is, as I have to say, more of a hindrance than an instrument.”
The love-hate relationship with his instrument also opens up to us the longing for closeness, commuting between the joy of music and work routine. Feelings range from melancholy to grandeur, from the tragedy of loneliness to the comedy of bohemian everyday life. No matter how important a role the double bass plays in a man’s life, his heart is still filled with love for another person, and a longing look radiates from the orchestra pit towards the beautiful soprano on the stage…
“Contrabass” is written as a confession, the speaker turns to the listener – are they us, the audience members, or is it his own reflection, the audience can hear the man’s inner speech? According to Guido Kangur, in his eyes, this play is not a monologue at all, but still a dialogue with music – for several years, when this play was sitting on the corner of the table and its sequel, he knew that he wanted to do it with live music.
In 2020, Mingo Rajandi received the Estonian Theater Musical Design and Original Music Annual Award for his music for “Contrabass”.