This work is conceived as a series of free variations on a well-known Venezuelan school song, “Los Chimichimitos,” which appears in its entirety only at the end of the piece, serving as a coda or conclusion.

Despite its cheerful and playful character, the song refers to a tragic legend from Venezuelan history: The Chimichimitos are said to be the souls of the unborn children of enslaved women who, as a result of mistreatment and the harsh conditions they endured, miscarried during their journey from West Africa to the island of Margarita, in northeastern Venezuela during the Sixteenth Century. These souls, taking the form of goblins or mischievous little spirits, are said to come out to play along the seashore only during those nights when there is a full moon.

The contrabassoon, with its distinctive timbre and versatility, seemed to the composer to be the ideal instrument to convey the work’s playful yet dramatic character.