{"id":9756,"date":"2024-10-16T12:34:10","date_gmt":"2024-10-16T10:34:10","guid":{"rendered":"https:\/\/dev.lucianoberio.org\/nota-di-programma-op\/magnificat-authors-note\/"},"modified":"2025-01-23T12:55:42","modified_gmt":"2025-01-23T11:55:42","slug":"magnificat-authors-note","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/magnificat-authors-note\/","title":{"rendered":"Magnificat (author&#8217;s note)"},"content":{"rendered":"<p><strong>Magnificat<\/strong><\/p>\n<p>I composed the <em>Magnificat<\/em> while I was still studying at the Conservatory in Milano with G. F. Ghedini. I remember the deep impression Ghedini\u2019s \u201cConcerto Spirituale\u201d had on me in those years, and it is therefore inevitable, I suppose, that its impact has filtered into some sections of my \u201cMagnificat\u201d. But, there is also something else behind this work.<br \/>\nI was born in a small town in Italy, near the French border and far from the so-called cultural centers. There I lived until the age of eighteen, studying and learning everything I could about my \u201cheritage\u201d. I never felt rgretful of, nor under-privileged by living in a provincial town, but I felt injured and angry when, in 1945, with the end of fascism, I realized the extent and the depth of the cultural deprivation that fascism had imposed on me. That same year (I was already twenty) I was for the first time in my life able to hear the music of Sch\u00f6nberg, Milhaud, Hindemith, Bartok, Webern, etc.; that is, the real voices of my European heritage. These composers as well as others had previously been forbidden by fascist \u201ccultural politics\u201d. The impact was, to say the least, traumatic, and it took me at least six years to recover from it. I believed, and I still do, that the best way to deal with \u201ctraumatic experience\u201d is to cope with them to the end, and, if possible, to exorcise them on their own ground. These are the premises of <em>Magnificat<\/em>, written in 1949. It was one of my last exorcism of the experiences and encounters of those years, and, I thingk, my last tribute to them.<\/p>\n<p><em>Magnificat<\/em>, from 1949, constitutes my last exorcism of the experiences and encounters of those years, above all, of Hindemith, Bartok and Stavinksy and, I think, one of my last tributes to them. I composed <em>Magnificat<\/em> when I was still studing in Milan with G.F. Ghedini \u2013 for whose teaching I am still deeply  grateful: \u2013 the hearing of his Concerto Spirituale was an unforgettable experience that, I suppose, left traces of it on several pages of this youthful work of mine.<\/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-9756","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>Magnificat (author&#039;s note) - 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=\"Magnificat (author&#039;s note) - Centro Studi Luciano Berio\" \/>\n<meta property=\"og:description\" content=\"Magnificat I composed the Magnificat while I was still studying at the Conservatory in Milano with G. 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F. Ghedini. I remember the deep impression Ghedini\u2019s \u201cConcerto Spirituale\u201d had on me in those years, and it is therefore inevitable, I suppose, that its impact has filtered into some sections of my \u201cMagnificat\u201d. 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