R Wagner "Wesendonck Traüme" arrt A Bonardi

 Composer and researcher, Alain Bonardi works as well on musical forms using new technologies as on chamber music. He studied musical composition with Michel Philippot, Emmanuel Nunes and Hacène Larbi.

 Particularly attracted by the voice and its dramaturgical potential, he wrote an opera in open computer-assisted form (Alma Sola) whose female Faust wants to exhaust the human experience by projecting herself into virtual universes corresponding to the character's themes: love, power, pleasure, etc. Part of his production is dedicated to chamber music with pieces for flute, clarinet ensemble, violin duo, cello quartet, trio for oboe, cello and piano...

 Since 2009, he has been collaborating with the Cantabile concerts, proposing compositions in the form of commentaries on works of the repertoire. In this perspective, a Liszt/Bonardi CD entitled "Liszt Voyageur" was released in 2012 with pianist Emmanuelle Swiercz, including compositions as commentaries on works by Liszt (Label Intrada).

Starting from the original score for voice and piano, from the orchestration by Wagner of the fifth of the Lieder, we propose here a new version of the Wesendonck Lieder, for voice, piano, clarinet (playing the bass clarinet) and cello. This is not a simple transcription, but a "composition" that emphasizes the structure of Wagner's composition as well as the text inspired by Buddhism and the Orient by Mathilde Wesendonck. The colors of the clarinet and cello play a decisive role in this. Instrumental interludes, also including resonant oriental percussion, were composed and placed between the lieder. They have a double temporal function of "resonance" of each lied and of musical memory, sending the listener from one lied to another, not always in the order of the latter.

for soprano, piano, clarinet and cello

Collection 30 p + (ps) 26 p