{"id":9767,"date":"2024-10-16T12:34:10","date_gmt":"2024-10-16T10:34:10","guid":{"rendered":"https:\/\/dev.lucianoberio.org\/nota-di-programma-op\/nones-authors-note\/"},"modified":"2025-01-23T12:55:47","modified_gmt":"2025-01-23T11:55:47","slug":"nones-authors-note","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/nones-authors-note\/","title":{"rendered":"Nones (author’s note)"},"content":{"rendered":"

Nones<\/strong>
\nfor orchestra (1954)<\/p>\n

In Nones<\/em> (The Ninth Hour), W. H. Auden transfigures the Passion of Christ into a lucid and burning inquiry about the agony of man chained to the enigma of a sudden, final moment.<\/p>\n

What we know to be not possible
\nThough time after time foretold
\nBy wild hermits, by shaman and sibyl
\nGibbering in their trances,
\nOr revealed to a child in some chance rhyme
\nLike will and kill, comes to pass
\nBefore we realize it. We are surprised
\nAt the ease and speed of our deed
\nAnd uneasy: It is barely three,
\nMid-afternoon, yet the blood
\nOf our sacrifice is already
\nDry on the grass; we are not prepared
\nFor silence so sudden and so soon;
\nThe day is too hot, too bright, too still,
\nToo ever, the dead remains too nothing.<\/p>\n

In 1953-1954 I had envisioned a sort of cantata for solo voices, chorus and orchestra based on that poem. The musical scope of the project was very ample and elaborate, and was based on a rigorously symmetrical thirteen-note series: a series with the repetition of one pitch that generated wide harmonic transformations ranging from cluster-like aggregates to octaves:<\/p>\n

The whole musical development was controlled by systematic and rather \u201cfatalistic\u201d procedures.
\nBut after a year of work I became aware that the poem itself was much too complex and long to be totally assimilated into a musical process. Therefore, having eventually put aside that project, I assembled five of its many orchestral episodes into a coherent sequence retaining, I hope, some of the power of transfiguration of Auden\u2019s poem. The five episodes are to be regarded as different facets of the same musical process, formally outlined by operations on number 9, involving durations, dynamics and modes of attack. Nones<\/em> can also be listened to as a study in sound transitions going from noise<\/em> to sound<\/em>, that is from rather complicated situations to relatively simple ones.
\nNones<\/em> was first performed in 1955 in Turin, with Bruno Maderna conducting.<\/p>\n

Luciano Berio<\/p>\n

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