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As part of the 2023 edition of the Darmstädter Ferienkurse (Darmstadt Summer Course), a workshop will be held on Berio’s Sequenzas I, II and XIV, featuring Angela Ida De Benedictis, Claire Chase, Lucas Fels and Gunnhildur Einarsdóttir, with the collaboration of Giovanni Cestino.

During the workshop, each of the three Sequenzas will be discussed in depth, combining performance practice with the direct analysis of archival sources. The workshop is an occasion for reconsidering the relationship between performance practice and musicological research, as complementary and ‚Äúapplied‚ÄĚ disciplines interacting with each other. In this sense, the corpus of Berio‚Äôs Sequenzas offers a perfect ‚Äúworking environment‚ÄĚ for testing the longstanding issue of integration between theory and practice.

The workshop will open on August 12, with a Performance-Lecture on Gesti for solo recorder (1966) (click here). This piece‚ÄĒa sort of ‚Äúextra‚ÄĚ in the Sequenzas cycle‚ÄĒwill be analyzed as a methodological case study to unpack some of the recurring issues the genesis, performance practice and publishing history of Berio‚Äôs solo compositions. After that, the focus will be put on Sequenza I for flute (August 12), Sequenza II for harp (August 13), and Sequenza XIV for cello (August 14). A final discussion will follow on August 15.

Dialogue: declined in the plural, this is the key word of a three-day music festival where different realities and attitudes of making and thinking music, even apparently far apart, are placed in continuous dialogue.
The first of the dialogues is that between a town, Radicondoli (where Luciano Berio chose to dwell from the first half of the 1970s), its inhabitants and various sound constellations inspired by Berio’s music and thought.
The dialogues thus involve places, attitudes, and practices of a 'making music together', based on the convergence of opposites. The sound dialogues are played out between inside and outside, between the square and the concert hall, between professional and amateur musicians, between art and popular music, between the music of today and that of the past, between a public and a private dimension, between generations and different perceptions...

For the Festival’s brochure click here
For the programme in English click here

Between May and November 2023, numerous events are scheduled to remember Luciano Berio on the 20th anniversary of his death.
On Thursday 4 May, at the Teatro Studio Borgna of the Auditorium Parco della Musica in Rome, a concert dedicated to Berio was held as part of the PMCE (Parco della Musica Contemporanea Ensemble) concert series. Ljuba Bergamelli (voice), Luca Sanzò (viola) and Paolo Ravaglia (contrabass clarinet), together with the PMCE musicians, performed Chamber Music, Différences, Chemins II, Sequenza III, Sequenza IX, O King and Circles.
On Tuesday 23 May, at the Teatro Verdi in Florence, the ORT-Orchestra della Toscana performed Rendering under the baton of Andrea Battistoni.
From 26 to 28 May, Dialoghi: Festival Luciano Berio 2023 was held in Radicondoli (SI), organised by the Centro Studi Luciano Berio in collaboration with the Municipality of Radicondoli.
On 2 June, as part of the Late Spring Music Festival at the Reggia di Venaria (Turin), curated by Claudio Pasceri, violinist Irvine Arditti performed Berio's Sequenza VIII.
On 7 and 8 June, Laborintus II is scheduled as part of the Manifeste 2023 festival at the Centre Pompidou in Paris, with Serge Maggiani as narrator, the singers and musicians of the Ars Nova ensemble and the electronic part curated by Ircam.

On 10 and 11 March 2023, the Fondazione Roma Tre Teatro Palladium - Auditorium Parco della Musica hosted Luciano Berio e la multimedialità (Luciano Berio and multimedia), a meeting consisting of a didactic seminar, video projections and study day, curated by Angela Ida De Benedictis and Federica Di Gasbarro.

The expansion of the boundaries of musical language through the interaction between old and new media and the broadening of the means of transmission of the sound message represented an unceasing challenge in the career of Luciano Berio (1925-2003).
His encounter with new media dates back to the first half of the 1950s and reached its first important stage with the founding, together with Bruno Maderna, of the Studio di Fonologia Musicale in Milan at RAI, one of the first electronic music laboratories in Europe. In this Studio, Berio experimented with new forms of interaction between instrumental, vocal and electronic music.
In the 1970s, Berio ventured into the multimedia medium par excellence, television. The cycle of broadcasts C'è musica e musica, first aired on RAI in 1972, stands out as a unicum in the television landscape of the time and makes TV an instrument of high dissemination of international musical culture, destined to broaden the sound horizons and knowledge of Italian television viewers.