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Text, Music, and Meaning in the Third Movement of Luciano Berio's Sinfonia Author(S): Michael Hicks Source: Perspectives of New Music, Vol

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Text, Music, and Meaning in the Third Movement of Luciano Berio's Sinfonia Author(S): Michael Hicks Source: Perspectives of New Music, Vol Text, Music, and Meaning in the Third Movement of Luciano Berio's Sinfonia Author(s): Michael Hicks Source: Perspectives of New Music, Vol. 20, No. 1/2 (Autumn, 1981 - Summer, 1982), pp. 199-224 Published by: Perspectives of New Music Stable URL: https://www.jstor.org/stable/942413 Accessed: 03-09-2018 02:16 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/942413?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms TEXT, MUSIC, AND MEANING IN THE THIRD MOVEMENT OF LUCIANO BERIO'S SINFONIA MICHAEL HICKS This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms Figure 1. Berio, Sinfonia:mvt. 3, mm. 1-10 IN RUHIG FLIESSENDER BEWEGUNG Mahler: 8 1166. Fourth Symphony . 6 . .. opening, A L . t LJ s measures Debussy: La Mer, mvt, 2, "Jeux de Vagues" opening ir mmn. 2-5 3 7 . I \ I \.-.[I r . ourth .ub. r. 9 acc... E9 Tn.po d.i Sd.o(01.) d i W 6p no n y UE 13753 Mi This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms Figure 2. Berio, Sinfonia: mvt. 3, mm. 59-69 Mahler: Secon d Symphony, mvt. 3 \ c.I S.C.f Berg : Violin .. , \-... 2 , I J TmI.m.l *. \' 16. I2I : 2 cfl "f id- <. 3 -Second) J ., .... --ri Brahms:- Violin '"* Concerto, mvt. 2 4. mm. 48 A9 m,,6; invt ; 1 . -I m _ ' 19-17 1 ( 1 l*"-i- '-- 4"" ~~~rl iu I n iJTiT Sle,r Jr (.....)D?r .. [?l.?ull? l*L!.^*.^ ,t . t / CP _ W - te /rl Ih * Ut 13783 M This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms Berio, Sinfonia- Strauss: Der Rosenkavalier, Figure 3. mvt. 3, mm.289-306Act II, Baron Ochs: "Keine Nacht ,T-n o. - Dir zu lang..." Ravel: La Valse C?t. * sr., Clr. i , I I I , -1 i I. i-i wrd. Tit. | 7J t 1 r ,9' p /,fp _ ,..., , I , pY Mahler, Ravel, Strauss "'p UE 13M3 Mi This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms - S trauss: Ravel: La Valse Der Rosenkavalier etc. Poco Tratt. i a , - /s P ,'if: 'j f -F>f-f t rF f t r T r r t p P -f v ff- . cI ; 'm 7 ]' r .u- 'i 4F r * Li r 1F I T "--I ff E _' ' - t,r "^ f*.( * irSi''^ ^ 1 ''? ? F *c i cS l JP ' , I . A. * , t . L L. r 1 1,r~~~~~~~~~i ,i l. .. -. ; * r > ' ' r ' T * ' o z7 f a -f -_ I PJ . _ S Tr.. 4 V :t C;..,,j. ?L p-fl; p ,,:-Lif p ff' t2 ' t 4 w' Cb- ;-ff -i ,, .' ,. T I) (t 1- J ; 8 i 1T1 11 - o" I i- ', .7 'tL L ff ~~,ti ^ __~Poco Trait. ,T. ( .~ , r/ , , 'r J' "t t i , ' r r ?t- ^-1" T . f fJ 'r1 Lb.,. A" ,. b* , ? it. ... .... ~.,.r ;, r f t . z ; z r T r? .,.).P ' ' -' Li 'r KL ik (t- -1f i Poco Tratt. i~. f ii f =- rir ' F - J t j-i ^ ^ T-- r ' rt c. ,. ,.1. ~ ,2 tlr S .lfp ,;f v It r _- 9 UE 13783 MI This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms Figure 4. Berio, Sinfonia; mvt. 3, mm; 441-450 Beethoven: Sixth Symphony, mvt. 2 04) *" . a i; __ c is , ._Y .. f--r 4. I r 17 T Y? (I - 104) 1-R .. Y 11 r....t. .. m^-(~~~~~~~ I I r- d ., 1* *.nb; t ^ tW .s. .h ? (C~l. ~*n n~r. t * ~1 r HI_ , I n1 t t t (M al e r ts U 13783 Mi This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms O c_ (D bJ *t - -- Hi -s I *3 0 i .E =. r 1 r tn^ = i. I . _ r: Cp . ;j l I I 1 4r c k-0 0 r p' (N ON o CD -, -d - 0' (D c+ D D * e+ p. Xc D 0 CD 3 0 (D cd to (D CO) This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms FF1I 1t4A I~t--- IfC.l. i t-""y" J"'J "' ' ' ' I Y1 lli T.. i, ^ - . I P I J t t t It I I X i, I I I I- I '' I a.I Af}' 1 i < r- --rI-T ---h 19 *I- 'A ' ^ '^P - j + j . ) 1?~~r S ~~~~~~~~~~l15 tit > Itp,II ,l . T . I Stockhausc n: Gruppen fi r f oT .) L. *- - drei Orche ster -vI -f L r f ? L I r f r iT t I I - I - I ' I I . " JJt 3 t, 'L I t' r.rr,trY r , , I (Mahler' s , f -1- - FF- o Second) , J.1 f-U -fr 5-,i , _ I.v. *r r?r 7^ Pt Jr J t - 41 - ' , * I v - 7 1p -A .i-. P~~~~~~~~i - J - i- -- i a P ~ ~ '- C - - 4 ii ? ? J 1 i i- r .1.. c-p.1, - -- _ iT m. 7 M f -- J I I IT J 1 J IJ J I q : F r,,,,,, , _ _, , - If C.i r I g j \ I J J J J I J i J ' J ' if J J J J J i J ; J I '-' I --- I ' I . , I I I ,,,, I ,. - " ) I-t , I I I I I Ir ? '1 I ' ! 4,r I' -I , I', II II1 I I {l I1.:+~-I lV ! ,J J [do. rdi [dol [dl I I m. I. i,r d . , i.. .'., ,,, ,.d ,1r c. L , e t, thr. ., ,. ,r e.., ho, ol rT. r..li-. 1.. J., T I i!? r r;t rr 0 ~F f .m. 1,-," ?. m v 7- Jr , , 1.1 I i . j- < T-I, 6 't 4 A 4, "ly&,cr r'r 'Icct ? t?Ci ., - - ?- - ? -- tmz- I I -pj r j n _s,0 }} P -- *- t .J Lr r J J -P Ue 13783 Mi This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:16:23 UTC All use subject to https://about.jstor.org/terms 207 Some theorists have scrutinized the third movement of Luciano Berio's celebrated Sinfonia after the manner of so many twelve-tone analyses: label the notes and their sources.1 These descriptions-they are strictly less than analysis-have value as far as they go, but they typically fail to penetrate the composer's aesthetic consciousness and interpret the large musical gestures according to the context in which the work was penned by the composer. Certainly in Berio's case such note-counting-or quote-counting-is a mistake. Few composers, few at least of Berio's competence, so consistently charge their work with cultural associations, conceive their music as not only communion but commentary. And the commentary in the movement in question we can properly view only in its relation to its preeminent text, Samuel Beckett's The Unnamable. So doing, we will see that the movement is best viewed as a setting and interpretation of that text: it is a book turned into music. Further, it is an explicit assertion of Berio's artistic values, biases, and concerns at the end of the nineteen-sixties. Berio's models. As often as not, Berio displays his affinity for romanticism in taking literary figures as his artistic heroes. In this movement, specifically, he joins the work of Mahler-a champion of text-into-symphony-and of Beckett to the aesthetic notions of Joyce, to whom Berio has consistently looked for models.2 It is well to examine these figures in turn: Mahler, Joyce, and Beckett. Berio's selection of the Mahler Second Symphony scherzo as the immense cantus firmus of this movement transcends mere homage: Mahler has been scorned and celebrated for his eclecticism, his rejection of "stylistic purity," and his musical quotation. His scherzo is, in fact, a prime example of the latter, being an adaptation of his own Wunderhorn song, "Des Antonius von Padua Fischpredigt."3 An understanding of this song uncovers yet a deeper layer in Berio's movement.
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