La Suite de La Sonnambula

Roman Haubenstock-Ramati (1919-1994), La Sonnambula (1972)

Johannes Maria Staud (*1974), Black Moon (1998)

Georges Aperghis (*1945), Simulacre IV (1995)

Johann Sebastian Bach (1685-1750), Aus: Suite für Violoncello BWV 1007 in G-Dur, Courante

Pascal Dusapin (*1955), Itou (1985)

Johann Sebastian Bach (1685-1750), Aus: Suite für Violoncello BWV 1007 in G-Dur, Menuett

Michael Jarrell (*1958), Assonance II (1989)

„La Suite de La Sonnambula“ is what follows La Sonnambula.

The somnambulist suddenly finds herself alone in the same picture. Still there are a lot of graphic reminiscences, pieces that sound on the graphics she already met before. But things are smaller, tighter, narrow. The graphic is taking over, starting to move, trying to pull her inside. She is trying to resist, is reflecting, complaining or fighting with it in her music. Things are developping to be a nightmare. The intensity between the nightmare and the somnambulist increases and the more she is trying to resist, the more she is brought to a limit where in the end she has to capitulate. She resigns and joins the picture. But letting go finally allows her to gain power again, she’s finally able to step out of the nightmare and reflects about her fears and experiences in a last piece.

La Suite de La Sonnambula presents four pieces of the most challenging repertoire for solo Bass Clarinet in an one-hour-poet being reflected, commented and completed by parts of Bach’s Cello Suite Nr. 1.

Where the term „Suite“ in this performance derives from the meaning that it comes after „La Sonnambula“, the full performance also represents a Suite in terms of Barock times:

Black Moon by J.M. Staud in the meaning of a Prelude

Simulacre IV by G. Aperghis in the meaning of an Allemande

Courante – originally as a third piece

Itou by P. Dusapin in the meaning of a Sarabande

Menuett – originally as a fifth piece

Assonance II by M. Jarrell in the meaning of a Gigue