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 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.
For the latest exhibitions of the artist, please see the Appointments' Archive