{"id":9679,"date":"2024-10-16T12:34:12","date_gmt":"2024-10-16T10:34:12","guid":{"rendered":"https:\/\/dev.lucianoberio.org\/nota-di-programma-op\/serenata-i-authors-note\/"},"modified":"2025-01-23T12:54:06","modified_gmt":"2025-01-23T11:54:06","slug":"serenata-i-authors-note","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/serenata-i-authors-note\/","title":{"rendered":"Serenata I (author’s note)"},"content":{"rendered":"

Serenata<\/strong>
\nfor flute and fourteen instruments (1957)<\/p>\n

The crucial years of the \u201croaring fifties\u201d were a difficult and intense period, when the composers were deeply involved with the search for structural references and a new serial order; the face of music was always severe and often grouchy. Bruno Maderna\u2019s Serenata<\/em> and mine were the first to come out after the war. They seem to me the first examples in which serial music becomes more relaxed and shows a less severe aspect.
\nSerenata<\/em> for flute and fourteen instruments is, in a way, a forerunner of Tempi concertati<\/em> (1958-1959) and of the Chemins<\/em> series, namely works in which I am concerned with the problem of integrating a soloist into an instrumental group or an orchestra. In Serenata<\/em> the fourteen instruments, rather than accompanying the flute or opposing it, extend, involve and generate it through a continuous interchange of elements and characters – as a form carries its colours and shadows… and is constantly changed by them.
\nSerenata<\/em>, written in 1957 for Severino Gazzelloni, is dedicated to Pierre Boulez who conducted its first performance in Paris in March of the same year.<\/p>\n

Luciano Berio<\/p>\n

Note d’autore: informazioni generali | Author’s note: general info
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