Luciano Berio
Chemins V
Short instrumentation: 3 0 2 1 - 1 2 1 0 - mar, hp(2), acc, t.sax, vln(12), vla(8), vc(4), cb(3)
Duration: 20'
Dedication: a Mario di Bonaventura con affetto
Solos:
guitar
Instrumentation details:
1st flute
2nd flute
3rd flute
clarinet in Bb
bass clarinet in Bb
tenor saxophone in Bb
bassoon
horn in F
1st trumpet in C
2nd trumpet in C
trombone
1st harp
2nd harp
marimba
accordion
violin(12)
viola(8)
violoncello(4)
contrabass(3)
Berio - Chemins V for guitar and chamber orchestra
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Translation, reprints and more
Luciano Berio
Berio: Chemins VOrchestration: für Gitarre und Kammerorchester
Type: Studienpartitur (Sonderanfertigung)
Luciano Berio
Berio: Chemins VOrchestration: für Gitarre und Kammerorchester
Type: Dirigierpartitur
Luciano Berio
Berio: Chemins V-GitarreOrchestration: für Gitarre und Kammerorchester
Type: Solostimme(n) (Sonderanfertigung)
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Work introduction
In Chemins V for guitar and an ensemble of forty-two players, the soloist plays, substantially unaltered, my Sequenza XI for guitar, written in 1987-1988 for Eliot Fisk. My aim was to develop a dialogue between the very idiomatic harmony of the guitar, strongly conditioned by the tuning of the instrument, and another, more extended and non-idiomatic harmonic dimension (the passport for moving between these two distant territories is the interval of augmented fourth). In Chemins V two instrumental idioms are also present: one has its roots in the Flamenco tradition, the other in classical guitar (the bridge between these two “histories” has been my own desire to experiment with an instrument I love). The dialogue between the two harmonic dimensions on one hand and the two instrumental idioms on the other, takes place through a continuous exchange and transformation of specific characters and clearly recognizable figures: the formal plan of Chemins V is therefore rather repetitive. But without repetition and parallelism a dialogue would have neither form nor meaning.
Luciano Berio