{"id":9830,"date":"2024-10-16T12:34:08","date_gmt":"2024-10-16T10:34:08","guid":{"rendered":"https:\/\/dev.lucianoberio.org\/nota-di-programma-op\/chemins-i-authors-note\/"},"modified":"2025-01-23T12:57:12","modified_gmt":"2025-01-23T11:57:12","slug":"chemins-i-authors-note","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-authors-note\/","title":{"rendered":"Chemins I (author&#8217;s note)"},"content":{"rendered":"<p><strong>Chemins I<\/strong><br \/>\non <em>Sequenza II<\/em><br \/>\nfor harp and orchestra (1965)<\/p>\n<p>The best way to analyse and comment on a musical work is to write another one using materials from the original work: a creative exploration of a composition is at the same time an analysis, a commentary and an extension of the original. The most profitable commentary on a symphony or an opera has always been another symphony or another opera. This is why my <em>Chemins<\/em>, where I quote, translate, expand and transcribe my <em>Sequenzas<\/em> for solo instrument, are also the Sequenzas\u2019 best analyses. The instrumental ensemble brings to the surface and develops musical processes that are hidden and compressed in the solo part, amplifying every aspect, including the temporal one: at times the roles are inverted so that the solo part appears to be generated by its own commentary.<br \/>\nWhy this insistence on elaborating and transforming again the same material? It is, maybe, a tribute to the belief that a thing done is never finished. Even the \u201ccompleted\u201d work is the ritual and the commentary of something which preceded it, of something which will follow it, as a question that does not provoke an answer but a commentary, and another question&#8230;<\/p>\n<p><em>Chemins I <\/em>is a specific commentary which includes, almost intact, the object and the subject of the commentary: <em>Sequenza II <\/em>for harp (1963), written for Francis Pierre.<br \/>\n<em>Chemins I<\/em> is not the result of an orchestral \u201cdressing up\u201d of <em>Sequenza II<\/em> or the displacement of an <em>objet trouv\u00e9<\/em> into a different context: it is rather a rereading and an expansion of the structural characters inherent in the original piece. In <em>Chemins I<\/em> the given text and its commentary become bound in a continuous interchange of elements and characters, as a form carries its colours and shadows&#8230; and is constantly changed by them.<\/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-9830","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>Chemins I (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=\"Chemins I (author&#039;s note) - Centro Studi Luciano Berio\" \/>\n<meta property=\"og:description\" content=\"Chemins I on Sequenza II for harp and orchestra (1965) The best way to analyse and comment on a musical work is to write another one using materials from the original work: a creative exploration of a composition is at the same time an analysis, a commentary and an extension of the original. 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The most [&hellip;]","og_url":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-authors-note\/","og_site_name":"Centro Studi Luciano Berio","article_modified_time":"2025-01-23T11:57:12+00:00","twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-authors-note\/","url":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-authors-note\/","name":"Chemins I (author's note) - Centro Studi Luciano Berio","isPartOf":{"@id":"https:\/\/dev.lucianoberio.org\/en\/#website"},"datePublished":"2024-10-16T10:34:08+00:00","dateModified":"2025-01-23T11:57:12+00:00","breadcrumb":{"@id":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-authors-note\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-authors-note\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-authors-note\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/dev.lucianoberio.org\/en\/home\/"},{"@type":"ListItem","position":2,"name":"Chemins I (author&#8217;s note)"}]},{"@type":"WebSite","@id":"https:\/\/dev.lucianoberio.org\/en\/#website","url":"https:\/\/dev.lucianoberio.org\/en\/","name":"Centro Studi Luciano Berio","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/dev.lucianoberio.org\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/dev.lucianoberio.org\/en\/wp-json\/wp\/v2\/nota-di-programma-op\/9830","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dev.lucianoberio.org\/en\/wp-json\/wp\/v2\/nota-di-programma-op"}],"about":[{"href":"https:\/\/dev.lucianoberio.org\/en\/wp-json\/wp\/v2\/types\/nota-di-programma-op"}],"wp:attachment":[{"href":"https:\/\/dev.lucianoberio.org\/en\/wp-json\/wp\/v2\/media?parent=9830"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}