GIUSEPPE CHIARI Scores, method to play, essays, cataloque of works
MUSIC
FOREWORD It was not easy to make a list of all my works with their birth dates, instruments I used, titles etc.
This list was made in autumn 1971 but I sincerely fear that in autumn 1972 this same list would be different My opinion on my music is continuously changing.
However, a complete classification even concerning only one day, is always very useful. Moreover, I can say things about my work which will always be true.
My work as a whole is made of several pieces which have no life by themselves.
There pieces are fragments and each work is formed by ten, twelve, a hundred fragments.
Consequently, each work of mine is a suite.
The performer or performers will make a choice of fragments and play them one after the other. Or one on top of the other. Very easy and very difficult.
This suite, today, september 1971, are eight at the same time: Intervalli, Teatrino, La strada, Valzer, Opera, Play what you like, Silenzio, Untitled.
Please pay attention to the notes you find near the title of each work. They will be of three kinds: (pentagram) (signs) (letters) or better (scores on pentagram) (scores based on signs) (scores with letters).
Whenever you see (pentagram) the text will look like a usual score with notes written on a pentagram. Notes are well written, (chords, arpeggios, phrases, monodies).
Those and only those are the notes. No ornament is allowed. On the contrary, tempos are free.
Whenever you see instead (signs) you will not be able to find a single note, or very seldom.
The text will be formed by many signs. Each sign indicates a gesture, on an instrument or on an object. And the scores will also contain the explanation of these signs.
In those scores one is invited to play with everything and there in the description of how one can play with a chair or a rock or a shett of paper with the same logical and emotional behaviour with which one plays a violoncello or a guitar.
The (letter) scores, that is to say written according to the usual literal language, will on the contrary indicate some actions. You will find many details for some of these or noises as a result.
This is the most theatrical part of my production.
However, to contradict the diffused opinion that my work is only theatrical, I gathered all my works and purely concert parts for piano, voice and orchestra which can be played in chamber or simphonic concert without disturbing the ritual of the concert.
Giuseppe Chiari
BIOGRAPHY Giuseppe Chiari was born in Florence in 1926. He quit his courses at the University of Florence while studying to become an engineer, He took tutoring in piano. In 1947, he established the first Jazz Club organizing jam sessions inside the University.
In 1950 he dedicated himself to music composition. In 1961, together with Pietro Grossi, he established the Vita Musicale Contemporanea Association.
Together with Sylvano Busotti, he coordinated Musica e Segno, a exhibition on musical graphics. The exhibition was repeated many times, starting in Rome at the Numero Gallery to reach. after a long tour, the Creative and Performing Arts Center in Buffalo.
In 1962 he become a member of the New York "FLuxus Movement".
He contributed to reviews such as Marcatrè and Collage.
He took part in the musical section in the Gruppo '70, a group of concrete poets.
In 1965 he is in Paris called by the Centre de Musique.
During the same year he performed at the Museum XX Jahrhunderts in Wien.
In 1960 he was invited to Berlin by the Film-und Fersehen Akademie.
Im 1969 he was one of the lecturers at the Seminario di Musica d'Avanguardia promoted by the Biennale in Venice.
As a composer, he is a member of the Sindacato Musicisti Italiani and his Copyright is protected by the Società Italiana Autori Editori.
INTERVALLI. | 1951-57 |
STUDY ON A SINGLE FREQUENCY. | 1951-53 |
GESTURES ON A PIANO. | 1962 |
LETTERA. | 1962 |
LE CORDE. | 1962 |
PER ARCO. | 1962 |
TEATRINO. | 1963 |
LA STRADA. | 1965 |
OPERA. | 1965-71 |
PLAY WHAT YOU LIKE. | 1965 |
SILENZIO. | 1967 |
AVE MARIA BY SCHUBERT. | 1968 |
VALZER. | 1969-71 |
CONCERT FOR PIANO AND ORCHESTRA. | 1970 |
VARIATIONS. | 1971 |
UNTITLED. | 1971 |
INTERVALLI | for piano | pentagram | 98 pages |
STUDY ON A SINGLE FREQUENCY 1 | for piano | pentagram | 120 pages |
STUDY ON A SINGLE FREQUENCY 2 | for piano | pentagram | 24 pages |
GESTURES ON A PIANO | signs | 16 pages | |
LETTERA | for orchestra | pentagram | 20 pages |
LE CORDE | for two pianos | letters | 12 pages |
PER ARCO | for 'cello | letters | 12 pages |
TEATRINO | for a pianist | letters. pentagram | 32 pages |
LA STRADA | for several performers | pentagram, signs, letter | Four Vol.s |
1. FRAGMENT FOR ORCHESTRA FLOWERS IN THE FIELDS | for Ensemble Vn. Vla. Fl. Cl. Contra Bsn. Trp. 1, 2 Bass Trb, Hp, Celesta Harmonium, Organ, Accordion, Guitar
| pentagram | 40 pages |
2. RULE FOR PIANO AND VIOLA CONCERT FOR VIOLA | for Ensemble Vla. Vn. Cl. Trp. Piano, Organ, Guitar, Perc. 1, 2, 3, 4
| pentagram | 40 pages |
3. LA STRADA | for several performers | letters | 40 pages |
4. A METHODO TO PLAY WATER, PIANO, STONES, GUITAR, AND OTHER THINGS | signs, letters | 100 pages |
LA STRADA III Vol. | 1 page | ||
1 page | |||
Each piece: | 1 page | ||
12 pages | |||
La strada | |||
Whisky | 2 pages | ||
Service dance | 1 page | ||
Essay on the psycology of hearing | 1 page | ||
Some object | 8 pages | ||
Imitation of nature | for orchestra | 1 page | |
Bilancia | 1 page | ||
Noises | 1 page | ||
Television | 1 page | ||
Cinema | 1 page | ||
Maria | 8 pages | ||
Sistro | 1 page | ||
Concert for viola | |||
Piece for wire | |||
For slide-projector | |||
A METHOD TO PLAY... IV Vol. | |||
Each piece: | |||
Piano method | 16 pages | ||
Guitar method | 32 pages | ||
A method to play water stones and others things | 50 pages | ||
Other studies of LA STRADA which are noth included in the four volumes | |||
STRING PIECE CELLO METHOD | for string orchestra | signs | 40 pages |
A METHOD TO PLAY RECORDER | letters | 1 page | |
CHAIR METHOD | letters | 4 pages | |
PIECE FOR HANDS | signs | 16 pages | |
PIECE FOR WOMAN | letters | 16 pages | |
SOLO FOR CARINET | letters | 1 page | |
SOLO FOR MEGAPHONE | letters | 1 page | |
STAFF | signs | 12 pages | |
TIMBAL METHOD | signs | 12 pages | |
ACCORDION METHOD | from Fragment | letters | 2 pages |
CANZONE | for orchestra | 1 page | |
FLOWERS IN THE FIELDS | first study for several melodius instruments | letters | 1 page |
THE CHAIR | for orchestra | signs | 10 posters 2.00/1.25 1.25/1.00 |
LONG SOLO FOR VOICE | letters | 4 pages | |
TO JED | for guitar | letters | 4 pages |
ACCOMPANIMENT OF A DANCE FOR PIANO | for orchestra | letters | 1 page |
CANTO | for voice for orchestra for piano | letters letters letters | 4 pages 4 pages 4 pages |
VACUUM | for dancer | letters | 1 page |
THE LEAF | for dancer | letters | 1 page |
THE THREE | for percussion | letters | 1 page |
JUNE 66 | for voice | letters | 20 pages |
SOLO FOR VIOLIN | letters | 1 page |
PIECE FOR PAPER | letters | 1 page | |
PIECE FOR LADDER | letters | 6 pages | |
JAZZ | for several instruments, bands and orchestras | letters | 2 pages |
PLAY THE ROOM | letters | 1 page | |
PLAY THE TOWN | letters | 12 pages | |
OPERA | for several performers, piano, chorus and orchestra |
letters, pentagram | |
1. DON'T TRADE HERE | for several performers, chorus, orchestra | ||
2. SONATA | for piano | ||
DON'T TRADE HERE | |||
Each piece: | |||
Don't trade here | 1 page | ||
Doing something with one's own body and the wall | |||
The hand eats the paper Piece for clinical thermother case | |||
Film | 1 page | ||
Physiological analysis | |||
Amore | |||
Uccellini | |||
Silenzio | |||
Phonographic art | |||
Variation on Fuer Elise by Ludwig van Beethoven | 1 page | ||
Fuori | 1 page | ||
Study on Schubert | 4 pages | ||
Study on Liszt | 1 page | ||
Study on piano composition | 1 page | ||
La folla solitaria | for chorus | 20 pages | |
Electronic music | |||
Brides who did not sign the wedding act | |||
Surgical operation | |||
Variation for cross | |||
Obscene music | 6 pages | ||
To noone | |||
The most important people in audience | |||
Do you want to win the war ? | |||
La luce | |||
Radio | |||
Scene | |||
Negativo | for orchestra | 1 page | |
Music and water | |||
Music and distance | |||
Music and measure | |||
Study on nocturne | 1 page | ||
Study on andante by Schubert | 1 page | ||
Les cloches du monastere by Lefebvre-Lewy | 8 pages | ||
Al chiaro di luna | 1 page | ||
SONATA | for piano | ||
Each piece: | |||
Chatterbox | 4 pages | ||
+ - + | |||
# = # | |||
Espressione | 8 pages | ||
Sad | 1 page | ||
The order. the religion, the reality | 4 pages | ||
Maria | 1 page | ||
Amore | 4 pages | ||
1 0 2 0 4 0 | 4 pages | ||
Question and answer | 4 pages | ||
The arithmetic | |||
The hand and the keyboard | |||
The sounds | |||
The logic | |||
The masturbation | |||
The space | |||
The spirit and the matter | |||
The space | |||
The three | |||
The end | |||
White red, green | |||
PLAY WHAT YOU LIKE | for ensemble | letters | 20 pages |
Other parts: | |||
Strimpellare | for ensemble | letters | 30 pages |
Canterellare | for voice | 4 pages | |
Along with the witch of knowing | for a performer | 1 page | |
AVE MARIA BY SCHUBERT | for' cello | pentagram | 12 pages |
CONCERT FOR PIANO AND ORCHESTRA | letters pentagram | 40 pages | |
VARIATIONS | for string orchestra | pentagram | 32 pages |
VALZER | for several performers, orchestra, chorus and organ | pentagram letters | Four Vol.s |
1. VALZER | letters | 24 pages | |
2. FROM THE SEVENTH SIMPHONY ALLEGRETTO BY LUDWIG VAN BEETHOVEN | for orchestra | pentagram | 32 pages |
3. TOCCATA AND FUGA BWV 565 | for organ | pentagram | 20 pages |
4. QUOTATION METHOD | essay | 16 pages | |
UNTITLED | 160 pages | ||
MUSIC | Essay | 60 pages | |
Works for piano | Intervalli |
Study on a single frequency n. 1 | |
Study on a single frequency n. 2 | |
Gestures on a piano | |
Canto | |
Strimpellare | |
Fragment from Valzer | |
Study on Schubert | |
Study on Andante by Schubert | |
Teatrino part for piano | |
Sonata without speaking | |
Impromptu by Schubert from Valzer I | |
Fuer Elise from Valzer I | |
Rule for piano from La strada II | |
Forte solenne from La strada II | |
Along with the wich of knowing | |
Works for voice | Long solo for voice from La strada - not included |
Fragment from Valzer I | |
Canterellare | |
Canto | |
Monologue from La folla solitaria | |
For voice from Intervalli n. 1. Version for voice | |
Works for orchestra | Lettera |
Canto | |
Jazz | |
Accompaniment of a dance for piano | |
Valzer | |
Beethoven from Valzer I | |
Fragment for orchestra | |
Flowers in the fields | |
The chair | |
Strimpellare | |
Canzone | |
Concert for piano and orchestra | |
Concert for viola | |
Study from Valzer I | |
String piece | |
Variations | |
From Seventh Simphony Allegretto by ludwig van Beethoven | |
Chorus from Valzer I | |
Negativo from Opera | |
... I must say I am very proud that I created Whisky and it was one of the best emotions in my concert life...
I succeeded in performing this work in front of an exceptional public: Cage, Feldman, Tudor (who applauded for a long time and later applauded <<a solo>> when everybody else had finished)...
(From a letter by Sylvano Bussotti)
With Chiari one goes back to music with humility, in the same way as with Burri to painting, like a child's experience which opens to sound for the first time.
(Gustavo Marchesi)
Among all contemporary composers, Giuseppe Chiari insists in the most decisive way on the semantic aspect of music...
(Heinz Klaus Metzger)
Chiari is inspired by the futuristic idea that daily life even in its most daily and common aspects may become more noble if lived as an esthetic experience.
(Frederic Rzewski)
Giuseppe Chiari works not only with sounds but with the player's attitude toward sounds. He rejects <<composition>>. Instead, he suggests, infers and cajoles. Chiari succeeds in making them belong more to the performer than to the composer.
(Larry Austin)
... he carries on that musical research which Satie began more than half a century ago.
(GIanni Emilio Simonetti)
CHIARI. ITALY. 50136 FLORENCE. 12 CHIARUGI.
PHONE. 01139.55.66.73.66