La Sezione SIEM di Macerata
è lieta di annunciare l’ultima pubblicazione della nostra consigliera territoriale Mariachiara GRILLI: per i tipi della CAMBRIDGE SCHOLAR PUBLISHING è uscito il saggio intitolato Towards an informed performance of Luciano Berio’s piano music from 1965 to 2001, contenuto nel volume Contemporary Piano Music: Performance and Creativity alle pp. 73-134.
«[…] Indeed, this idea of opening up and bringing together heterogeneous materials and techniques also represented one of the focal points of the musical thought of composers such as Berio or Zimmermann. For example, Sinfonia (1960), one of Berio’s most emblematic works, integrates within its internal structure a wide variety of materials, styles and techniques from different musical traditions, anticipating the postmodern pluralist idea. It is perhaps this aesthetic diversity that best corresponds to his concerns as a composer, and to his need to explore different techniques, which thereby defines the specific nature of his creative journey. In this regard, his work for piano is particularly representative. Covering a period of 54 years of creation, his pianistic repertoire concentrates various compositional strategies that form the basis of the Berian language, from the neo-classical style of the Petite Suite (1947) to the Sonata (2001), his last piano piece, from the serial experience of Cinque Variazioni (1952-53), and the tonal allusions and quotes in the 6 Encores (1965-1990) to the concept of improvisation in Sequenza IV (1966), and the “rewriting notion” in Rounds (1967), with all of these works testifying to the variety of their language and the multiplicity of their creative processes. These issues are particularly developed in the article by Mariachiara Grilli, in which the author presents a detailed analysis of Berio’s solo piano work, highlighting his methods and the interrelationships between the pieces. A central aspect of the essay concerns the role of instrumental discourse, as an element conveying expressiveness and musical gesture in performance».
(Madalena Soveral, dalla prefazione al volume)