Early beginnings
‘Music has been part of my life for as long as I can remember. My mother told me that I started singing before I could talk. Well, singing: mimicking the sounds I heard. She always said: this child has a very good ear. Ah, those are the kinds of things mothers say, but I was always interested in music and couldn’t wait until I was eight to start the basic training at the Conservatorio. My father mostly listened to jazz. When I was younger, my mother loved Beethoven. So, if you mix jazz and Beethoven, you get a double bassist. Haha.’

Choosing an instrument
‘Honestly, I don’t know the exact reason. I have always loved the double bass. But my mother—there she is again—told me it was because of the film The Aristocats. In it, one of the cats in the band plays the double bass on the song Everybody Wants to Be a Cat. I looked, pointed at it, and said: that’s what I want to play. And I repeated that until I went to the Conservatorio. Even though people were surprised because I was so small, I was determined.’

Passion for the double bass
‘I love the vibration, the deep resonance. And the nice feeling that your instrument forms the foundation of the orchestra. The bass section is the mattress upon which the orchestra rests. A very soft and thick cushion. I love low sounds, but I am also fond of sopranos. That lyrical quality is a bit the opposite of what I do. I am a passionate person; I would quite like to be the lead voice, like the violin that carries the melody. I don't really have the typical character of a double bassist, as just a supporting role. I’m a bit too much of a diva for that.’

The Rotterdam Philharmonic
‘At sixteen, I followed a masterclass in Madrid with Luis Cabrera, whom I consider one of the best double bassists in the world. He was a teacher at Codarts at the time. I wanted to study with this man under any circumstances. I succeeded; after an audition for the bachelor’s program, I was accepted. That was when I really got to know the orchestra. I come from a small town; in Rotterdam, I finally saw how big the music world actually was. My very first encounter was with Gergiev during the festival in 2021. Enormously impressive.’

The audition
‘I had been in youth orchestras since I was young, and I have always enjoyed playing in an orchestra. By the time of the audition, I was more aware of what an orchestra is—that it has its own sound, its own musical style. I prepared by practicing a lot, of course. But, as I said, I am quite passionate and tend to get over-enthusiastic. I wanted to show that despite my age—21, quite young, which can be a disadvantage—I took things seriously. So, my focus was on projecting stability.’

The atmosphere in the orchestra
‘It is great here; everyone is kind, even during more tense moments. An example: during a tour, we went onto the stage, but it turned out it wasn't ready yet, and everyone had to find their spot. Even then, everyone remained calm, smiling, and friendly.’

Homesickness
‘I feel very comfortable here. Truly at home. I have set my mind to it that this is going to be my home. I sometimes miss my family and my cats. You can't find the way we prepare squid in Spain here, but otherwise, it’s just a matter of adjusting. I’m doing that. I just don't eat as much bread yet, and my eating schedule is still Spanish. Lunch around three o'clock, dinner at nine. I go to bed early because I am a morning person. I don't like siestas; I didn't do that in Spain either.’

Outside the bubble
‘I used to play sports, like tennis, and I want to pick that up again. I enjoy playing pool, I love reading, and I like video games. And walking. I take photos and often listen to music while doing so, but I only put in one earbud. That’s because of the pandemic. When I first came to Rotterdam, there was a curfew from 9 PM to 4 AM. I would go out to seek the silence. But, in those late hours, you have to be alert. You could be hit by a car, or someone could be walking behind you. I like to keep one ear on standby.’

Favorites
‘My favorite composer is Bach, because his music takes me to nature. If I want to describe nature in musical terms, it’s Baroque. Wagner and Schubert—I find them very beautiful, too. In my final years of study, I became immersed in Schubert’s songs; I felt emotionally connected to those song cycles. And Wagner, the pinnacle of drama. You listen to Tristan und Isolde, and you suffer the same as they do, even if your story is completely different. Incredible. So, I am looking forward to Götterdämmerung. Then we will close Wagner’s cycle. Or start again, just like with Harry Potter.’

Name: Javier Clemén Martínez
Instrument: double bass
Born: 2002, Ponferrada, Spain
Education: from 2010 Enseñanzas Elementales y Profesionales de Música Conservatorio Cristóbal Halffter in Ponferrada, from 2020 Codarts Rotterdam
With the Rotterdam Philharmonic: since August 2024
Private: still lives in his student house in Rotterdam

Text: Jolanda van der Ploeg    Photo: Antim Wijnaendts van Resandt

This article previously appeared in Intrada, Sept-Nov 2026 no. 1.