BERIO CHEMINS IV PDF

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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. They are a series of specific commentaries which include, almost intact, the object and subject of the commentary. Why 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. Chemins IV , for oboe and eleven strings, can be listened to as a commentary to my Sequenza VII for oboe , a commentary that amplifies and develops certain harmonic aspects of the original Sequenza.

The Sequenza becomes in fact the generator of new instrumental lines, which in turn make explicit its latent polyphony around a pivot - an ever-present B - that puts into perspective all the subsequent harmonic transformations. Like a reverberating chamber, the development of Chemins IV mirrors and shatters the elements of Sequenza VII , sometimes receiving their anticipated echo in such a way that for the listener the oboe part seems generated by the eleven strings.

IVA e C. English Italiano. Il contenuto di questa pagina richiede una nuova versione di Adobe Flash Player. Ricerca Search this site:. Chemins IV author's note Chemins IV on Sequenza VII for oboe and eleven strings 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.

Luciano Berio.

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Luciano Berio: Chemins II & Chemins IV and Points on the Curve to Find

The sequenza calls for extended technique. At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff. The piece is built around a drone played on a B natural , [1] which typically comes from an offstage source. In his instructions on the score, Berio writes,.

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Chemins IV (author's note)

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