{"id":9731,"date":"2024-10-16T12:34:11","date_gmt":"2024-10-16T10:34:11","guid":{"rendered":"https:\/\/dev.lucianoberio.org\/nota-di-programma-op\/sequenza-v-note-de-lauteur\/"},"modified":"2025-01-23T12:54:59","modified_gmt":"2025-01-23T11:54:59","slug":"sequenza-v-note-de-lauteur","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/sequenza-v-note-de-lauteur\/","title":{"rendered":"Sequenza V (note de l&#8217;auteur)"},"content":{"rendered":"<p><strong>Sequenza V<\/strong><br \/>\npour trombone (1966)<\/p>\n<p>Il faut entendre <em>Sequenza V<\/em> comme un essai de superposition de gestes et d\u2019actions musicales: le soliste combine et transforme r\u00e9ciproquement le son de sa voix et le son de l\u2019instrument; autrement dit il doit accomplir simultan\u00e9ment deux actions: jouer et chanter. Ce n\u2019est pas facile de coordonner les deux actions, et l\u2019efficacit\u00e9 de la pi\u00e8ce d\u00e9pend pr\u00e9cis\u00e9ment du respect scrupuleux des intervalles entre voix et instrument: de cette fa\u00e7on seulement on peut parvenir au degr\u00e9 de transformation pr\u00e9vue (vocalisation de l\u2019instrument et \u00abinstrumentisation\u00bb de la voix) et fournir la mati\u00e8re appropri\u00e9e \u00e0 d\u2019autres degr\u00e9s simultan\u00e9s de transformation.<br \/>\nComme dans <em>Sequenza III<\/em> pour voix, dans <em>Sequenza V<\/em> j\u2019ai cherch\u00e9 \u00e0 d\u00e9velopper musicalement un commentaire entre le virtuose et son instrument, dissociant les comportements pour les reconstituer apr\u00e8s, transform\u00e9s, en unit\u00e9s musicales. Donc <em>Sequenza V<\/em> peut aussi \u00eatre \u00e9cout\u00e9 et vue comme un th\u00e9\u00e2tre de gestes vocaux et instrumentaux.<br \/>\n<em>Sequenza V<\/em> est hant\u00e9e par le souvenir de Grock (Adriano Wettach), le dernier grand clown. Grock \u00e9tait mon voisin; il habitait une villa \u00e9trange et compliqu\u00e9e sur la colline, entour\u00e9e d\u2019une sorte de jardin oriental avec des petites pagodes, des ruisseaux, des ponts et des saules pleureurs. Souvent j\u2019escaladais, avec mes camarades de classe, une palissade tr\u00e8s haute pour voler des oranges et des mandarines dans son jardin. Pendant mon enfance, la proximit\u00e9, la familiarit\u00e9 excessive de son nom et l\u2019indiff\u00e9rence des adultes qui m\u2019entouraient m\u2019emp\u00each\u00e8rent de r\u00e9aliser son g\u00e9nie. Ce n\u2019est que plus tard, vers l\u2019\u00e2ge de onze ans, que je le vis sur la sc\u00e8ne du Th\u00e9\u00e2tre Cavour \u00e0 Porto Maurizio, et le compris. Pendant ses num\u00e9ros, une seule fois au cours de la soir\u00e9e, il arr\u00eatait soudainement son jeu et, en regardant le public d\u2019un regard d\u00e9sarm\u00e9, il (se) demandait: \u00abwarum?\u00bb (pourquoi?). Et alors, je ne savais pas si je devais rire ou pleurer et j\u2019avais envie des deux \u00e0 la fois. Apr\u00e8s cette exp\u00e9rience, je n\u2019allais plus voler d\u2019oranges dans son jardin.<br \/>\n<em>Sequenza V<\/em>, \u00e9crite en 1966 pour Stuart Dempster, est un hommage \u00e0 Grock et \u00e0 son <em>pourquoi<\/em> m\u00e9taphysique en anglais &#8211; <em>why<\/em> &#8211; qui est le principe g\u00e9n\u00e9rateur du morceau.<\/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-9731","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>Sequenza V (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=\"Sequenza V (note de l&#039;auteur) - Centro Studi Luciano Berio\" \/>\n<meta property=\"og:description\" content=\"Sequenza V pour trombone (1966) Il faut entendre Sequenza V comme un essai de superposition de gestes et d\u2019actions musicales: le soliste combine et transforme r\u00e9ciproquement le son de sa voix et le son de l\u2019instrument; autrement dit il doit accomplir simultan\u00e9ment deux actions: jouer et chanter. 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