{"id":161944,"date":"2026-04-01T10:17:58","date_gmt":"2026-04-01T08:17:58","guid":{"rendered":"https:\/\/www.humboldtforum.org\/programm\/termin\/other-en\/bassschluessel-monologe-161944\/"},"modified":"2026-04-01T10:44:37","modified_gmt":"2026-04-01T08:44:37","slug":"bassschluessel-monologe","status":"publish","type":"event","link":"https:\/\/www.humboldtforum.org\/en\/programm\/termin\/concert\/bassschluessel-monologe-161944\/","title":{"rendered":"Bass Clef Monologues"},"content":{"rendered":"
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Gernot Adrion:<\/p>\n

Sonata for Violoncello Solo op. 2 (1991)<\/p>\n

Prodos (2021), Monologue for bass clarinet solo op. 12 (world premiere)<\/p>\n

H\u00f6ret die Stimme (2024) for double bass solo op. 15 (world premiere)<\/p>\n

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Three solo works, two of which are world premieres: the season\u2019s final micro-concert features three pieces by Gernot Adrion, who works full-time as deputy principal violist with the Berlin Radio Symphony Orchestra. He has written them specifically for three of his orchestral colleagues. All three are performed on low-pitched instruments: cello, bass clarinet and double bass.<\/p>\n

The Sonata for Cello consists of three movements, with a musical meditation in the middle that captures the listener\u2019s attention. In the finale, two worlds clash: one quiet, restlessly urgent, somewhat reminiscent of the film score for \u201cJaws\u201d and one jagged and sparkling, based on a Fibonacci sequence. This sequence was originally devised by the Italian mathematician of the same name to describe the growth of a family of rabbits. The sequence usually begins with 0 and 1 or 1 and 1, with each subsequent number being the sum of the two preceding ones: 1, 1, 2, 3, 5, 8, 13, 21, 34, \u2026<\/p>\n

The work for bass clarinet is entitled \u201cProdos\u201d. The Greek word means \u201cprogress\u201d and reflects \u201cmy personal engagement with contemporary music \u2026 my attitude towards it is expressed relatively clearly in the performance instructions \u2018resignierend\u2019 (German: with resignation) and \u2018morendo\u2019 (Italian: dying) \u2026\u201d (Gernot Adrion)<\/p>\n

Gernot Adrion calls \u201cdodecatonicity\u201d a compositional principle he has developed, in which a free tonality is superimposed on a fixed root note in parallel with a twelve-tone row. \u201cIn \u2018H\u00f6ret die Stimme\u2019 for solo double bass, we find a slow introduction featuring a twelve-tone row that nevertheless sounds like a theme in E minor. \u2026 The title \u2018H\u00f6ret die Stimme\u2019 refers to a novel by Franz Werfel: in this work we hear hundreds of sighs, like a lament. This reminds me of the Lamentations of Jeremiah, who acts like a lone voice crying in the wilderness, here in the role of a solitary double bassist.\u201d (Gernot Adrion)<\/p>\n<\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t\t <\/div>\n<\/section>\n\n

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