Jorge Castro

He enrolled in 2005 at the Viana do Castelo Professional School of Music, where he completed the Instrument Course. He earned a Bachelor’s degree at ESART/IPCB in the class of Prof. Adriano Aguiar, and a Master’s degree in Music Education at the University of Minho. In Master Classes, he has worked with António Augusto Aguiar, Leon Bosch, Giuseppe Ettorre, Chi-Chi Nwanoku, Alejandro Elrich Oliva, Marc Ramirez, Catalin Rotaru, Rinat Ibragimov, Michael Wolf, Iouri Axenov, Petia Bagovska, Duncan McTier, Massimo Giorgi, Petru Iuga, Alberto Bocini, Thierry Barbé, Gabrielle Ragghianti, and Janne Saksala. He is currently a PhD candidate in Double Bass Performance at the University of Aveiro.

Portuguese Symphony Orchestra, Castilla y León Orchestra, Brussels Philharmonic Orchestra, Porto Symphony Orchestra/Casa da Música, among many others. He has performed in concerts in Portugal, Spain, France, Germany, Belgium, the Netherlands, and South Africa. He has been invited to lead double bass masterclasses at the Trinorte Music School, Orfeão de Leiria, Paredes Music Conservatory, and Fernandes Fão Music Academy. He was a soloist, alongside Samuel Abreu, in G. Bottesini’s Concerto for 2 Double Basses with the Con Spirito Orchestra. He was a soloist in João Rodrigues Cordeiro’s “Fantasia” with the Braga Traditional String Orchestra.

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He was a professor of double bass and chamber music at the Professional School of Music in Viana do Castelo, the Academy of Music in Viana do Castelo, and the Academy of Music in Paços de Brandão. He is currently a double bass teacher at the Bomfim Conservatory in Braga. He has been the double bass section leader of the Portuguese Philharmonic Orchestra since 2016. He is a founding member of the Indigo Quintet, which has released two albums of original music.

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Doctoral Project

Title
“Contrabaixo Sai do Sarcófago” – CCCI Model – Creation, Collaboration, Crossover, and Improvisation for double bass equity in an ensemble

Advisor
Susana Sardo and António Augusto Aguiar (co-advisor)

Abstract
The present investigation has the starting point the perfomative flaw that double bass players have on the western european chamber music, with few repertoire and performances, for opposition to the tradicional chamber music string quartet. This investigation will create an integrated model for a double bass equity on an ensemble with 4 fundamental ideas: creation, collaboration, crossover and improvisation.

Keywords
Double bass; Chamber music; Creation; Collaboration; Crossover; Improvisation; Equity.