{"id":9712,"date":"2024-10-16T12:34:11","date_gmt":"2024-10-16T10:34:11","guid":{"rendered":"https:\/\/dev.lucianoberio.org\/nota-di-programma-op\/il-ritorno-degli-snovidenia-note-de-lauteur\/"},"modified":"2025-01-23T12:54:51","modified_gmt":"2025-01-23T11:54:51","slug":"il-ritorno-degli-snovidenia-note-de-lauteur","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/il-ritorno-degli-snovidenia-note-de-lauteur\/","title":{"rendered":"Il ritorno degli Snovidenia (note de l&#8217;auteur)"},"content":{"rendered":"<p><strong>Il ritorno degli Snovidenia<\/strong><br \/>\npour violoncelle et petit orchestre (1976-1977)<\/p>\n<p><em>Il ritorno degli Snovidenia<\/em>, \u00e9crit pour Paul Sacher et son orchestre, a \u00e9t\u00e9 cr\u00e9\u00e9 en janvier 1977 avec Mstislav Rostropovitch au violoncelle.C\u2019est pour cela que j\u2019ai donn\u00e9 \u00e0 cette \u0153uvre le titre <em>Il ritorno degli Snovidenia<\/em>: Les <em>r\u00eaves<\/em> (<em>snovidenia<\/em> en russe), ce sont les chants r\u00e9volutionnaires russes. Au contraire de Rostropovitch j\u2019ai toujours eu une attitude tr\u00e8s id\u00e9aliste envers la r\u00e9volution russe, et j\u2019ai donc inclus dans la composition, comme un exorcisme, trois chants r\u00e9volutionnaires. <em>Il ritorno degli Snovidenia<\/em> est avant tout un hommage \u00e0 un r\u00eave trahi par l\u2019histoire, par les hommes, par le stalinisme. Je ne crois pas que l\u2019on puisse traduire la trahison sur le plan musical, mais dans mon inconscient c\u2019est une id\u00e9e qui a sans doute jou\u00e9 un r\u00f4le important.<br \/>\nLes cellules des chansons, qui ne sont jamais utilis\u00e9es en entier, provoquent des r\u00e9sonances dans l\u2019orchestre et, \u00e0 travers le prolongement de certaines notes, engendrent des champs harmoniques. C\u2019est ainsi que les fragments de chants sont des \u00e9l\u00e9ments \u00e0 la fois m\u00e9lodiques et harmoniques. La variabilit\u00e9 fonctionnelle de ces petits noyaux m\u00e9lodiques, qui ne sont jamais trait\u00e9s comme des objets, comme des \u00e9l\u00e9ments m\u00e9lodiques en soi, les rend m\u00e9connaissables.<br \/>\nLa transcription m\u2019int\u00e9resse quand elle va au-del\u00e0 de toute d\u00e9finition, quand elle n\u2019est pas une op\u00e9ration de restauration et qu\u2019elle se met en relation dialectique avec le pass\u00e9 (y compris le pass\u00e9 personnel du compositeur) ou avec une tradition culturelle diff\u00e9rente. Non pas pour les conserver, mais pour en extraire des espoirs. Une transcription qui cherche \u00e0 r\u00e9aliser un autre visage de la v\u00e9rit\u00e9, qui ne soit plus transcription, mais invention consciente.<\/p>\n<p>Luciano Berio<\/p>\n<p><a href=\"http:\/\/dev.lucianoberio.org\/note-dautore\/\">Note d&#8217;autore: informazioni generali | Author&#8217;s note: general info<br \/>\n<\/a><\/p>\n","protected":false},"template":"","meta":{"_acf_changed":false},"class_list":["post-9712","nota-di-programma-op","type-nota-di-programma-op","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Il ritorno degli Snovidenia (note de l&#039;auteur) - Centro Studi Luciano Berio<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Il ritorno degli Snovidenia (note de l&#039;auteur) - 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