The double bass

The extremely humorous monologue of the double bassist, who has a love-hate relationship with his instrument and drowns his inadequacy and dissatisfaction in beer, is a classic by Patrick Süskind from 1981. Since its release, it has developed into a frequently performed solo piece on German stages. "Every musician will gladly assure you that an orchestra can do without a conductor at any time, but not without the double bass." In his soundproof room, a not-so-young, not particularly gifted double bassist reflects on his instrument, his place in the orchestra, and in life. He is a civil servant for life in the state orchestra, third stand, only involved during tutti passages. Even the timpani, with its mere four notes, is more important than he is. The nameless musician hates Mozart and Wagner and occasionally skips a few notes while playing to take revenge on the composers or annoy the conductor. What can happen to him anyway? He believes no one willingly becomes a double bassist. And the instrument, which looks like an old woman with too fat hips, is always in his way. "Can you tell me why a man in his mid-thirties, namely me, lives with an instrument that constantly hinders him? Humanly, socially, sexually, and musically hinders him?" He is in love with the beautiful, young soprano Sarah. But she goes out with other men who are more talented or influential than he is. But one day, he firmly resolves to throw away his bow in the middle of a performance and loudly call her name. The extremely humorous monologue of the double bassist, who has a love-hate relationship with his instrument and drowns his inadequacy and dissatisfaction in beer, is a classic by Patrick Süskind from 1981. Since its release, it has developed into a frequently performed solo piece on German stages, offering excellent entertainment and, incidentally, many absurd anecdotes from music history. Axel Vornam directs the one-person play with Oliver Firit on the double bass. A play by Patrick Süskind.