{"id":9831,"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-note-de-lauteur\/"},"modified":"2025-01-23T12:57:13","modified_gmt":"2025-01-23T11:57:13","slug":"chemins-i-note-de-lauteur","status":"publish","type":"nota-di-programma-op","link":"https:\/\/dev.lucianoberio.org\/en\/program-note-work\/chemins-i-note-de-lauteur\/","title":{"rendered":"Chemins I (note de l&#8217;auteur)"},"content":{"rendered":"<p><strong>Chemins I<\/strong><br \/>\nsur <em>Sequenza II<br \/>\n<\/em>pour harpe et orchestre (1965)<\/p>\n<p>La meilleure fa\u00e7on d\u2019analyser et commenter une \u0153uvre musicale a \u00e9t\u00e9 toujours d\u2019en \u00e9crire une autre \u00e0 partir des mat\u00e9riaux de l\u2019\u0153uvre originale; elle devient ainsi l\u2019objet d\u2019une exploration cr\u00e9atrice qui en est \u00e0 la fois une analyse, un commentaire et une extension. Les commentaires les plus efficaces d\u2019une symphonie ou d\u2019un op\u00e9ra ont toujours \u00e9t\u00e9 une autre symphonie ou un autre op\u00e9ra. En ce sens mes <em>Chemins<\/em>, qui citent, traduisent, amplifient et transcrivent mes Sequenze pour instrument solo, ce sont aussi les meilleures analyses des <em>Sequenze<\/em>. L\u2019ensemble instrumental explicite et d\u00e9veloppe les processus musicaux latents et comprim\u00e9s dans le discours du soliste, en amplifiant aussi les relations temporelles: parfois les r\u00f4les sont invertis et c\u2019est la partie du soliste qui semble \u00eatre engendr\u00e9e par son propre commentaire.<br \/>\nPourquoi, en fait, cette insistance \u00e0 vouloir \u00e9laborer et transformer le m\u00eame mat\u00e9riau musical? Peut-\u00eatre est-ce un tribut \u00e0 l\u2019id\u00e9e que rien de ce qu\u2019on ach\u00e8ve, en soi, est jamais fini. M\u00eame l\u2019\u0153uvre \u00abachev\u00e9e\u00bb est rituel et commentaire de quelque chose qui est venu avant, de quelque chose qui viendra apr\u00e8s, comme une question qui ne provoque pas de r\u00e9ponse mais encore un commentaire, et une autre question&#8230;<\/p>\n<p><em>Chemins I<\/em> est un commentaire sp\u00e9cifique qui comprend presque int\u00e9gralement l\u2019objet et le sujet du commentaire: <em>Sequenza II <\/em>pour harpe (1963), \u00e9crite pour Francis Pierre.<br \/>\n<em>Chemins I <\/em>n\u2019est pas une simple m\u00e9tamorphose orchestrale de <em>Sequenza II<\/em>, ni le d\u00e9placement d\u2019un objet trouv\u00e9 dans un contexte nouveau, mais c\u2019est plut\u00f4t une nouvelle lecture et une extension des caract\u00e8res instrumentaux inh\u00e9rents au morceau pour soliste. Dans <em>Chemins I<\/em> le texte original et son commentaire sont intimement m\u00eal\u00e9s dans un \u00e9change permanent d\u2019\u00e9l\u00e9ments et de caract\u00e8res &#8211; de m\u00eame qu\u2019une figure porte en soi ses couleurs et ses ombres&#8230; et par celles-l\u00e0 se voit constamment chang\u00e9e.<\/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-9831","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 (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=\"Chemins I (note de l&#039;auteur) - Centro Studi Luciano Berio\" \/>\n<meta property=\"og:description\" content=\"Chemins I sur Sequenza II pour harpe et orchestre (1965) La meilleure fa\u00e7on d\u2019analyser et commenter une \u0153uvre musicale a \u00e9t\u00e9 toujours d\u2019en \u00e9crire une autre \u00e0 partir des mat\u00e9riaux de l\u2019\u0153uvre originale; elle devient ainsi l\u2019objet d\u2019une exploration cr\u00e9atrice qui en est \u00e0 la fois une analyse, un commentaire et une extension. 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