Malcolm Lowry’s monumental The Voyage That Never Ends was  never finished. Coincidence? Inspired by it, Stefano Scodanibbio’s  opus magnum was written over nearly two decades and took its  present form in 1997. Is this, too, a story of wandering, purgatorial  penance, and redemption? I hear it rather as a tale of alchemical  transmutation: of time, of sound, of the double bass. For through  the Italian composer and virtuoso’s explorations, this instrument  became an entirely new phenomenon, one Giovanni Bottesini  never dreamt of.