Along with the Chemins—which take as their core material works from the Sequenza series for solo instruments—Luciano $Berio produced, using a similar process, the Corale for solo violin, two horns, and strings (1981) based on the 1977 Sequenza VIII for solo violin). Because the soloist is accompanied by like-sounding instruments, there is a "chorale" aspect to the ensemble that is reflected in the title of the piece. Corale presents a clear-cut example of Berio's process of harmonic proliferation at work. Unlike Chemins II for viola and ensemble, however, the violin in Corale isn't overwhelmed by, or folded into, the ensemble texture, but remains a true solo part.

Other than pauses for extended ensemble forays, Sequenza VIII, with its opening two-pitch gambit and timbral subtlety, remains, in its virtually unchanged entirety, at the heart of Corale. The soloist is joined in its excursions by the rest of the strings, while the French horns underscore particular pitches as a way of focusing the harmony. The ensemble begins to lose its accompanimental status as individual instruments become increasingly independent. At the same time, the solo part is the subject of imitation or other direct commentary. Paths that were only potentials in Sequenza VIII are here traveled by the soloist's many doppelgangers. Such instances are further examples of the various interpretive possibilities inherent in Berio's music, as exemplified in works such as Eindrücke (1974) and Points on the Curve to Find... (1974).

Written, in 1981, for the violinist Carlo Chiarappa, this worked was premiered by him the following year.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.