Let me say that I learned much from Maestro Luciano Berio. It was the best working relationship between an instrumentalist and a composer one could dream of.<\/p>\n\n\n\n
When we began to work together, although I felt immediately how important it was to be for the history of the bassoon, I couldn’t possibly imagine that it would be like that every day of my life! When I warm up on my bassoon, I do it with the Sequenza XII<\/em>.<\/p>\n\n\n\n All of the new techniques that Luciano invented change the orchestral possibilities for the bassoon in comibination with other instruments. Every time a composer hands me a new piece, I think back to Luciano who asked me to show him all the new pieces I had for my instrument. He loved to read new scores. After the World Premiere of Sequenza XII<\/em> he told me: \u00abPascal, now you must ask composers to write new pieces for you!\u00bb. As a result, we now have brilliant pieces by Boulez, Rihm, Neuwirth, Fujikura, Staud and Haas, never mind the others\u2026<\/p>\n\n\n\n I had the good fortune to work on the new version for bassoon of Boulez\u2019s Dialogue de l’ombre double<\/em> at the same time that I was working with Luciano on the Sequenza<\/em>. He and Boulez were friends and he told me then that Boulez had composed the piece for him. There was, I felt, a deep and mutual admiration between Pierre and Luciano.<\/p>\n\n\n\n I must say that composers all over the world love the Sequenza<\/em> for solo bassoon. Since Luciano left us, each performance of the Sequenza<\/em> is a deep emotional moment. Particularly because I remember what Luciano said to me after the German Premiere in L\u00fcbeck: \u00abPascal, it is incredible, I looked at my watch and your interpretation lasted 25 minutes, as long as a Haydn Symphony, yet it seemed to me like five minutes. We have discovered something\u2026\u00bb<\/p>\n\n\n\n I must admit to really liking what he called the disappearing time effect which you get by circular breathing and glissando.<\/p>\n\n\n\n So, for my this and future generations of bassoonists, a big thank you, Luciano.<\/p>\n\n\n\n Pascal Gallois<\/p>\n","protected":false},"excerpt":{"rendered":" Let me say that I learned much from Maestro Luciano Berio. It was the best working relationship between an instrumentalist and a composer one could dream of. When we began to work together, although I felt immediately how important it was to be for the history of the bassoon, I couldn’t possibly imagine that it […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3658],"tags":[],"class_list":["post-11556","post","type-post","status-publish","format-standard","hentry","category-per-luciano-en"],"acf":[],"yoast_head":"\n