Organization

Admin

Beijing Music Festival

Śpiewak

Yang Chenxiuyi

Voice

Instrumentalista

Cellist

Shang Boheng

Cello

Violinist

Li Jingcan

Violin I

Wang Ruisheng

Violin II

Violist

Zhu Siwei

Viola

Li Pei

Alto saxophone

Xiaoxuan Li

Piano

Soloist

My Stage, My Future Project Spring Bird @BMF 3 "Memory of Tomorrow"

Pekin

Chiny

My Stage, My Future Project Spring Bird @BMF 3 "Memory of Tomorrow": Of a Certain Age Cipullo (+3 More)

Public

Of a Certain Age

Sequenza III

Sequenza IX

String Quartet in G minor, op. 10

Pallavi Pawar

Approved

The theme of this concert is taken from the manuscript of Norton lecture given by Italian musician Luciano Berio at Harvard University in 1993-1994, "Remembering the Future".

Memory, Future, I Narrative Module and Selected Songs of "Memory" Focusing on the title of Berio's lecture and echoing its contents;

1. Formation: Music is the art of time, and the formation of music needs parameters such as melody, sound type, phrase, harmony, pitch sequence, rhythm pattern and so on. Music just avoids verbal dialogue. In the first scene, Yang Chenxiuyi and Li Ziao jointly present a vocal divertimento Of a Certain Age, conveying women's voice with music: a woman's life.

2. Forgetting Music: Why Forgetting Music? Because creation always means some degree of destruction and disloyalty, we must arouse the memory of music and then forget it. The history of music is the history of "dealing" with musical instruments and voices in new ways. Why forget the music? Because creation always means some degree of destruction and disloyalty, we must arouse the memory of music and then forget it. Berio explained his creation of "new vocalism" in this lecture: language is deconstructed into syllables and letters without meaning, language lacks its autonomy, and human voice is used as a musical instrument, so as to explore and apply the sounds and sound effects that human beings can make. In order to expand the continuity between music and poetic text, the linearity of the text itself, that is, the narrative function, needs to be broken, so that music can show its "Total Face" in the form of pure sound.


In the second act, Yang Chenxiuyi and Li Pei respectively performed the selections of SequenzaIII and SequenzaIXb in Berio's solo music for a series of musical instruments. These works explored all the possibilities of each instrument, and usually required the performers to completely present the contents of the works beyond the traditional performance techniques. Modular progress 9b (Sequenza IXb) is a work that Berio "recreated" after changing musical instruments on the basis of Modular progress 9 (Sequenza IX). This series of creations is related to the acoustic experiment in the performance process. Berio, through close cooperation with musicians, gives music what he understands as "dazzling skills", and each work has become a classic performance work in the field of musical instrument performance. In the Modular Series, although each individual work is a solo work, it presents a multi-voice listening effect.




3. O Alter Duft: O alter Duft aus Märchenzeit is the first line of the last song of Arnold Schoenberg's "Pietro in the Moon", and Berio put forward the concept of "being made" by this phrase. Music works always need the help of performance to explain and expound the relationship between the author's ideas (music creativity) and performance (music realization). The so-called openness of music is reflected in different aspects-"the conception of the work", "the interpretation of the work " and "the listening to the work"-being discovered, located and unfolded. In 2023, Claude Debussy composed a string quartet in G minor when he was 31 years old.

English

本次音乐会主题取自意大利音乐家卢契亚诺·贝里奥于 1993- 1994 年间在哈佛大学所做诺顿讲座的文稿《记忆未来》。
记忆 • 未来 I「记忆」的叙事模块和选曲围绕 Berio 的讲座的标题及呼应其内容：

1. 形成：音乐是时间的艺术，音乐的生成需要旋律、音型、乐句、 和声、音高序列、节奏模式、等参数。音乐只是回避了言语对 话。第一幕由杨陈秀一与李子傲共同呈现声乐套曲 Of a Certain Age，用音乐传递女性的声音：一位女性的一生。

2. 忘记音乐：为什么忘记音乐？因为创造总是意味着某种程度 上的破坏与不忠，因此我们必须唤起对音乐的记忆，然后忘记它。音乐史就是以新的方式与乐器和人声“打交道”的历史。为什么忘记音乐？因为创造总是意味着某种程度上的破坏与不忠，因此我们必须唤起对音乐的记忆，然后忘记它。Berio 在这一讲中 解释了自己的“新人声主义”创作：语言被解构至没有语义的音节与字 母，语言缺失了其自主性，人声被当作乐器，进而探索与运用人类能够 发出的声响与音效。为了拓展音乐与诗性文本之间的连续性，文本自身 的线性即叙事功能则需被打破，如此音乐才能以纯声音的形式显示出其 “全貌”（Total Face）。


第二幕由杨陈秀一与李沛分别演绎 Berio 为一系列乐器创作的独奏音乐 作中的选曲 Sequenza III 与 Sequenza IXb，这些作品探索了每种乐器的全部可能性，通常需要演奏者以超出于传统的演奏技术以完整呈现 作品的内容。《模进 9b (Sequenza IXb) 》是 Berio 在《模进 9 (Sequenza IX) 》的基础上，变换乐器后“再创造”而成的作品。这一系列的创作与演奏过程中的声响性实验相关，Berio 通过与音乐家们的密切合作，赋予音乐以他所理解的“炫技”，每部作品都在其乐器的演奏领域中成为经典的演奏作品。在模进系列中，尽管每一部单独的作品都是独奏作品，却都呈现为 多声性的聆听效果。


3. O Alter Duft 噢，古老的芬芳：O alter Duft aus Märchenzeit 是阿诺尔德·勋 伯格《月迷彼埃罗》最后一曲的第一行歌词，Berio 借由这一词句提出作品“在制” 的概念。音乐作品总是需要通过表演帮助来解释与阐述作者想法（音乐创意）与演奏 （音乐实现）之间的关系。音乐所谓的开放性体现在不同方面——“对作品的构想”中、 “对作品的演绎”中、“对作品的倾听”中——被发现、被定位、被展开。2023 年，由 四位 90 后吾境四重奏成员演绎克劳德·德彪西在其 31 岁时创作的 g 小调弦乐四重奏。

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