Ar Soner

In Brittany, the figure of the “sonneur,” a bombarde player who facilitates dance but is also capable of playing laments, was essential, both in “Festnoz” (traditional festivals) and during religious processions. In this piece, I wanted to pay a symbolic tribute to this figure by writing, at the request of Yann Olivier, artistic director of the Dinard International Music Festival, a work for solo clarinet for Rozenn Le Trionnaire. The latter, steeped in Breton culture, seemed perfect to embody this figure here. In the first movement, Galv da Zañsal (Call to Dance), the clarinet, starting from the breath of the wind, gradually unfolds into an increasingly powerful call. Then, after a stomp on the ground, the dance (Zañsal) begins, chaotic at first, then at times seeming full of reminiscences of apocryphal traditional tunes. Finally, a Paradise Song (Kan ar Baradoz in Breton) appears, initially between long silences, then in counterpoint to the voice of the performer who sings while playing. Little by little, short snippets of the canticle Kantig ar Baradoz. Breton tradition attributes this canticle to Saint Hervé, a blind bard of the 6th century. It is also said that the text was revised by Dom Michel Le Nobletz, the founder of the Breton missions. It is with this spiritual melisma that the work concludes, in suspension.
Here is the text and translation of the first verse of this canticle:

Jezuz, pegen bras ‘ve
Plijadur an ene,
Pa vez e gras Doue
Hag en e garantez.

Jesus, how great is
The pleasure of the soul
When it is in the grace of God
And in His love.