It was as if my CD player had developed a heart, a passion, a resonant emotion of its own. How, I thought to myself, can an instrument such as the double bass, usually lost as the background in the orchestra, so rarely heard as an instrument in its own right, play with such passion and meaning? And how was it that it has such meaning for me, largely unschooled in Western classical music? I don’t pretend to have even heard of the Italian romantic composer Bottesini, so I can’t say whether it was just the music that touched me. But I also sensed that it was the player, the South African musician Leon Bosch, who was reaching out to me, across years of experience of repression and suffering – that was what made listening to this an extraordinary experience.

‘I have no doubt that the double bass and I were made for each other,’ writes Bosch on the CD sleeve. ‘- we’re completely inseparable and the music we make together brings me unbridled joy! It has always been my mission in life to defend the cause of the underdog and my passion for the double bass, the ‘Cinderella’ of instruments, will never die.

‘Every note I play on the instrument embraces my life experiences, both in Europe and in my South African homeland. I’ve known love and comradeship, but also witnessed the epitome of hatred. I’ve felt both shining optimism and deep despair. I’ve benefited from the pleasures of civilised society, but also seen the destructive impact of poverty and ignorance. I’ve been privileged to stand side by side with people who’ve lost their lives in the defence of their principles.’

As a 15-year-old protestor in Cape Town Bosch was arrested, detained and tortured by the apartheid regime. After a trial at which he was found not-guilty as a result of being defended by Abdullah Omar (subsequently Minister of Justice in the new dispensation), Bosch wanted to study law, but was denied a place at University as a consequence of his political activities. And that made him turn to music, first at the South African College of Music and then the Royal Northern College of Music in the UK.

There is a long tradition of music as a place for protest and politics. We are used to hearing jazz, reggae, hip-hop, and similar forms of music expressing the struggle against oppression. To hear the same through classical music is rare, and even rarer was to hear the soul of the double bass sing of the struggle and of love. This is something to be experienced. Add this one to your collection.

We hope to feature extracts of this music in future Pambazuka News podcasts. Look out for these!

* Virtuoso Double Bass: Giovanni Bottesini 1821-1889 is published by Meridian Records, 2007 (www.meridian-records.co.uk)

* Firoze Manji is editor of Pambazuka News and director of Fahamu

* Please send comments to or comment online at http://www.pambazuka.org/