It is not every season that the double bass gets the spotlight. This week in St. Paul, the Saint Paul Chamber Orchestra is giving the instrument a rare starring role.
A new concerto with a story at its center
The SPCO is premiering Under a Spell, a newly commissioned work by composer Jon Deak, at Ordway Concert Hall in St. Paul. The performances are set for November 13 at 11 a.m. and November 14 at 7 p.m., with principal bassist Zachary Cohen as soloist. According to the orchestra’s season plans, the piece was developed across 2 seasons, which already says a lot about the care behind it.
What makes this premiere especially unusual is its format. Deak shaped the score as a fairytale, and storyteller Bill Gordh will narrate the performance live from the stage. That gives the concerto a second voice beyond the orchestra, blending spoken word with instrumental writing in a way most audiences do not hear at a standard classical concert.
Deak is a natural fit for that kind of experiment. He is widely known in contemporary music circles not only as a composer, but also as a former double bassist, which gives him an insider’s sense of the instrument’s strengths. In Under a Spell, that background matters, because the bass is not treated like a background foundation but as the main character.
Why the double bass almost never gets this kind of spotlight
In most orchestras, the double bass is the instrument you feel as much as hear. It anchors harmony, supports rhythm, and usually sits at the back of the ensemble, which is one reason concerto appearances are rare compared with violin or piano. A new bass concerto from a major American chamber orchestra like the SPCO is still a notable event in 2024.
That rarity is exactly why Zachary Cohen’s role stands out. As principal bassist of the Saint Paul Chamber Orchestra, Cohen usually leads from within the section rather than in front of it. This premiere flips that balance, asking him to carry the musical narrative while still drawing on the dark, resonant sound that makes the bass so distinctive.
There is also a practical challenge built into writing for the instrument. The double bass can be agile and lyrical, but in a live hall such as the Ordway, a composer has to make sure its low register speaks clearly over an ensemble. Deak’s experience as a bassist likely helped shape a score that gives Cohen room to project character, motion, and color without losing clarity.
How the project reflects SPCO’s broader artistic approach
The commission also says something important about the SPCO itself. The orchestra has spent recent seasons investing in new work through efforts such as its Sandbox Composer Residency, a program designed to let composers test ideas in close collaboration with musicians. A piece like Under a Spell feels like the kind of project that grows best in that hands-on environment.
That development process matters because it turns a premiere into more than a one-night novelty. Over 2 seasons, musicians and creators had time to refine pacing, storytelling, and instrumental balance before the November performances in St. Paul. For a work that combines concerto writing with narration, that extra runway can make the difference between an interesting concept and a fully convincing piece.
For audiences, the result could be one of the most accessible classical events on the calendar this month. A narrated fairytale performed by Bill Gordh offers a clear point of entry, while Cohen’s solo part gives longtime concertgoers something genuinely uncommon to hear. At a time when many orchestras are trying to welcome broader audiences, the SPCO is doing it with a premiere that is both adventurous and easy to connect with.
