Luciano Berio
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Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
Note Sul Teatro Di Luciano Berio. Tra Riflessione E Gioco
Titolo || Note sul teatro di Luciano Berio. Tra riflessione e gioco Autore || Fiamma Nicolodi Pubblicato || Rosa Meccia, a cura di, «Il teatro come pensiero teatrale», Edizioni scientifiche italiane, 1990, pag. 183. Diritti || © Tutti i diritti riservati. Numero pagine || pag 1 di 6 Archivio || Lingua|| ITA DOI || Note sul teatro di Luciano Berio. Tra riflessione e gioco. di Fiamma Nicolodi Per un musicista come Luciano Berio, per il quale il teatro è un'entità più articolata e complessa del «genere» abitualmente accolto sulle assi del palcoscenico, alludere a un pensiero «teatrale» senza dar nello stesso tempo conto del suo pensiero «musicale», del modo in cui egli organizza l'intera materia sonora, la distribuisce, ritaglia, diluisce, condensa, sembra impresa parzialmente vana. Chi vieta per esempio di considerare Sequenza III per voce sola (1966), pagina fra le più note dell'artista, caratterizzata da una densa gestualità, da un'«azione» latente e da una fisicità fonica di assoluta eloquenza (per il cantante che interpreta e per il pubblico che ascolta), come un teatro vocale senza scena? Lo stesso dicasi per Circles (1960), dove il carattere circolare della forma è illustrato dai movimenti dell'interprete (cantante-strumentista-attrice), così rivendicando alla musica uno degli aspetti più intrinseci, anche se meno coltivati: la possibilità di manifestarsi in forme visibili oltre che udibili. E perché scorporare determinate soluzioni linguistico-formali dai lavori espressamente destinati al teatro, senza documentarne la ricorrenza nelle composizioni strumentali (sinfoniche o cameristiche)? In maniera ovviamente sommaria, come si addice a un convegno in cui l'intervento sulla musica resta un'isolata eccentricità, non si dovrebbero allora trascurare altri aspetti del linguaggio e del pensiero musicale beriano nella loro accezione più vasta che, spingendo oltre lo sguardo, potrebbero essere intesi come la traduzione sul pentagramma del suo modo di porsi di fronte al reale (e forse anche di pensare se stesso). -
The Influence of Berio Sequenza V on Trombone Repertoire and Technique
The Influence of Berio Sequenza V on Trombone Repertoire and Technique K J BALDWIN PHD 2020 The Influence of Berio Sequenza V on Trombone Repertoire and Technique KERRY JANE BALDWIN A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by Manchester Metropolitan University 2020 CONTENTS Page Acknowledgements i Abstract ii Literature Review iii 1. 1900-1965 Historical Context: Influences on Sequenza V 1 a. Early Twentieth Century Developments 4 b. Glissando Techniques for Trombone 6 i. The False Glissando 6 ii. The Reverse Slide Glissando 10 c. Flutter Tongue 11 d. Theatrical Works 12 e. Berio & Grock 13 2. Performing Sequenza V 15 a. Introduction and Context b. Preparing to Learn Sequenza V 17 i. Instructions 17 ii. Equipment: Instrument 17 iii. Equipment: Mutes 18 iv. Equipment: Costume 19 c. Movement 20 d. Interpreting the Score 21 i. Tempo 21 ii. Notation 22 iii. Dynamics 24 iv. Muting 24 e. Sections A and B 26 f. WHY 27 g. The Third System 29 h. Multiphonics 31 i. Final Bar 33 j. The Sixth System 34 k. Further Vocal Pitches 35 l. Glissandi 36 m. Multiphonic Glissandi 40 n. Enharmonic Changes 44 o. Breathy Sounds 46 p. Flutter Tongue 47 q. Notable Performances of Sequenza V 47 i. Christian Lindberg 48 ii. Benny Sluchin 48 iii. Alan Trudel 49 3. 1966 – 2020 Historical Context: The Impact of Sequenza V 50 a. Techniques Repeated 50 b. Further Developments 57 c. -
CHAN 3029 Book Cover.Qxd 24/7/07 4:32 Pm Page 1
CHAN 3029 book cover.qxd 24/7/07 4:32 pm Page 1 CHAN 3029 CHANDOS O PERA I N ENGLISH Sir Charles Mackerras PETE MOOES FOUNDATION CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 2 Leosˇ Janácˇek (1854–1928) Osud (Fate) Opera in three acts Libretto by Leosˇ Janácˇek and Fedora Bartosˇová English translation by Rodney Blumer AKG Míla Valková .............................................................................................................. Helen Field Zˇ ivn´y, a composer .............................................................................................. Philip Langridge Míla’s mother ...................................................................................................... Kathryn Harries Act I A poet, A student .................................................................................................... Peter Bronder Dr Suda ........................................................................................................................Stuart Kale First lady .............................................................................................................. Christine Teare Second lady ........................................................................................................ Elizabeth Gaskell Old Slovak woman ................................................................................................ Dorothy Hood Major’s wife .............................................................................................................. Mary Davies Councillor’s wife................................................................................................... -
Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence. -
Luciano Berio
Title || Luciano Berio - biographical notes Author || Daniele Vergni Translation from Italian || Flora Pitrolo Published in || «Sciami», 2017 - www.nuovoteatromadeinitaly.sciami.com Rights || All rights reserved. © Sciami 2016. Visit term and condition on sciami.com Number of pages || pag 1 di 1 Language|| ENG DOI || Luciano Berio - biographical notes by Daniele Vergni Luciano Berio (Oneglia, Imperia, October 24, 1925 – Rome, May 27, 2003), composer and conductor, has been a pioneer in composing for electronic and electro-acoustic music. He had first approached music in his own family, then studied at the Conservatory “Giuseppe Verdi” in Milan, attending the department of composition with Giulio Cesare Paribeni and Giorgio Federico Ghedini, and that of conducting with Carlo Maria Giulini and Antonio Votto. The first public performance of a piece by him (suite for piano) took place in 1947. In 1951 he studied with Luigi Dallapiccola in Tanglewood, United States; in 1954 he attended the summer courses in Darmstadt, joining the musical avant-garde of those years – Pierre Boulez, Karlheinz Stockhausen, Bruno Maderna, Luigi Nono, György Ligeti, Mauricio Kagel and others. Berio took such a great interest in electronic music that the following year, in Milan, with Bruno Maderna, he founded the Studio di Fonologia della RAI, for the production of electronic music, where also foreign composers such as John Cage recorded and composed. In 1956 he founded the periodical Incontri Musicali of which four issues were published between ’56 and 1960. In the sixties he was back in the United States and he was appointed a professorship first at Mills College in Oakland, California, then in 1956 at Juillard School in New York, where he created the Juillard Ensemble, a group devoted to the execution of contemporary music. -
Prospero's Death: Modernism, Anti-Humanism and Un Re in Ascolto
Prospero’s Death: Modernism, Anti-humanism and Un re in ascolto1 But this rough magic I here abjure, and, when I have requir’d Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I’ll drown my book. Solemn music. Prospero in William Shakespeare, The Tempest, V/1, 50-57 (Shakespeare 2004, p.67) Yet, at this very moment when we do at last see ourselves as we are, neither cosy nor playful, but swaying out on the ultimate wind-whipped cornice that overhangs the unabiding void – we have never stood anywhere else,– when our reasons are silenced by the heavy huge derision,–There is nothing to say. There never has been,–and our wills chuck in their hands– There is no way out. ‘Caliban to the Audience’, W. H. Auden, ‘The Sea and the Mirror’ (Auden 1991, p.444) Luciano Berio was riven by anxiety about opera and theatre. In an interview with Umberto Eco, ‘Eco in ascolto’, held in 1986 not long after the premiere of Un re in ascolto, he insists that the work should be considered a ‘musical action’ (azione musicale), a concept he associates with Wagner’s Tristan and Isolde and in which ‘musical process steers the story’. This he contrasts with opera, which, according to him, is ‘sustained by an “Aristotelian” type of narrative, which tends to take priority over musical development’ (Berio 1989, p.2). -
Luciano Berio's Sequenza V Analyzed Along the Lines of Four Analytical
Peer-Reviewed Paper JMM: The Journal of Music and Meaning, vol.9, Winter 2010 Luciano Berio’s Sequenza V analyzed along the lines of four analytical dimensions proposed by the composer Niels Chr. Hansen, Royal Academy of Music Aarhus, Denmark and Goldsmiths College, University of London, UK Abstract In this paper, Luciano Berio’s ‘Sequenza V’ for solo trombone is analyzed along the lines of four analytical dimensions proposed by the composer himself in an interview from 1980. It is argued that the piece in general can be interpreted as an exploration of the ‘morphological’ dimension involving transformation of the traditional image of the trombone as an instrument as well as of the performance context. The first kind of transformation is revealed by simultaneous singing and playing, continuous sounds and considerable use of polyphony, indiscrete pitches, plunger, flutter-tongue technique, and unidiomatic register, whereas the latter manifests itself in extra-musical elements of theatricality, especially with reference to clown acting. Such elements are evident from performance notes and notational practice, and they originate from biographical facts related to the compositional process and to Berio’s sources of inspiration. Key topics such as polyphony, amalgamation of voice and instrument, virtuosity, theatricality, and humor – of which some have been recognized as common to the Sequenza series in general – are explained in the context of the analytical model. As a final point, a revised version of the four-dimensional model is presented in which tension-inducing characteristics in the ‘pitch’, ‘temporal’ and ‘dynamic’ dimensions are grouped into ‘local’ and ‘global’ components to avoid tension conflicts within dimensions. -
El Lenguaje Musical De Luciano Berio Por Juan María Solare
El lenguaje musical de Luciano Berio por Juan María Solare ( [email protected] ) El compositor italiano Luciano Berio (nacido en Oneglia el 24 de octubre de 1925, muerto en Roma el 27 de mayo del 2003) es uno de los más imaginativos exponentes de su generación. Durante los años '50 y '60 fue uno de los máximos representantes de la vanguardia oficial europea, junto a su compatriota Luigi Nono, al alemán Karlheinz Stockhausen y al francés Pierre Boulez. Si lograron sobresalir es porque por encima de su necesidad de novedad siempre estuvo la fuerza expresiva. Gran parte de las obras de Berio ha surgido de una concepción estructuralista de la música, entendida como un lenguaje de gestos sonoros; es decir, de gestos cuyo material es el sonido. (Con "estructuralismo" me refiero aquí a una actitud intelectual que desconfía de aquellos resultados artísticos que no estén respaldados por una estructura justificable en términos de algún sistema.) Los intereses artísticos de Berio se concentran en seis campos de atención: diversas lingüísticas, los medios electroacústicos, la voz humana, el virtuosismo solista, cierta crítica social y la adaptación de obras ajenas. Debido a su interés en la lingüística, Berio ha examinado musicalmente diversos tipos de lenguaje: 1) Lenguajes verbales (como el italiano, el español o el inglés), en varias de sus numerosas obras vocales; 2) Lenguajes de la comunicación no verbal, en obras para solistas (ya sean cantantes, instrumentistas, actores o mimos); 3) Lenguajes musicales históricos, como -por ejemplo- el género tradicional del Concierto, típico del siglo XIX; 4) Lenguajes de las convenciones y rituales del teatro; 5) Lenguajes de sus propias obras anteriores: la "Sequenza VI" para viola sola (por ejemplo) fue tomada por Berio tal cual, le agregó un pequeño grupo de cámara, y así surgió "Chemins II". -
Estudo Comparativo Entre Edições Da Sequenza I Para Flauta Solo De Luciano Berio: Subsídios Para Compreensão E Interpretação Da Obra
UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES CIBELE PALOPOLI Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para compreensão e interpretação da obra São Paulo 2013 CIBELE PALOPOLI Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para compreensão e interpretação da obra Dissertação apresentada ao Programa de Pós-Graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Mestre em Música. Área de concentração: Processos de criação musical Orientadora: Profa. Dra. Adriana Lopes da Cunha Moreira São Paulo 2013 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados fornecidos pelo(a) autor(a) Palopoli, Cibele Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para a compreensão e interpretação da obra / Cibele Palopoli. -- São Paulo: C. Palopoli, 2013. 180 p.: il. Dissertação (Mestrado) - Programa de Pós-Graduação em Música - Escola de Comunicações e Artes / Universidade de São Paulo. Orientadora: Adriana Lopes da Cunha Moreira Bibliografia 1. Sequenza I 2. Luciano Berio 3. Análise musical 4. Performance musical 5. Música do século XX I. Moreira, Adriana Lopes da Cunha II. Título. CDD 21.ed. - 780 Nome: PALOPOLI, Cibele Título: Estudo comparativo entre edições da Sequenza I para flauta solo de Luciano Berio: subsídios para compreensão e interpretação da obra Dissertação apresentada ao Programa de Pós- Graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Mestre em Música. -
Berio, Calvino Und Prospero Un Re in Ascolto Reflektiert Von Claudia Di Luzio
Berio, Calvino und Prospero Un re in ascolto reflektiert von Claudia di Luzio Un re in ascolto, «azione musicale in due parti» von Luciano Berio, 1984 bei den Salzburger Festspielen uraufgeführt, basiert auf einer Montage von Textbruchstücken disparater Herkunft. Wurden die ersten Schritte in der Entstehung des Werkes gemeinsam mit Italo Calvino getan, so fuhr Berio an einem gewissen Punkt mit der Anfertigung des Textbuches auf eigene Faust fort; Anlaß dafür mögen divergente poetologische Vorstellungen gewesen sein. Dennoch sind einige wichtige aus dieser Zusammenarbeit entsprungene Teile in reflektierter Form in die definitive Textfassung ein- gegangen. Im Kontext des von Berio konzipierten Textes und insbesondere in seiner musikalischen Umsetzung öffnen sie sich neuen Deutungen. Den thematischen Anstoß zur Realisierung des Projektes gab der von Roland Barthes und Roland Havas für die Enciclopedia Einaudi verfaßte Artikel «Ascolto»1, in dem drei Hörweisen unterschieden werden: das instinktive, das dekodierende, begreifende und schließlich das mit dem Willen, selbst gehört zu werden, einhergehende intersubjektive Hören, in dem weniger das Gesagte zählt als vielmehr, wer spricht oder kommuni- ziert. Calvino schrieb daraufhin einen ersten Textentwurf2, in dem ein vom Hörsinn besessener König von gehörten und imaginierten Stimmen und Geräuschen verfolgt wird. Diesen Textvorschlag Calvinos lehnte Berio auf- grund dramaturgischer Schwächen und schwerer Umsetzbarkeit in Musik ab.3 Calvino entwarf daraufhin ein Sujet, das auf Berios Veranlassung die Idee des horchenden Königs mit metatheatralen Elementen kombiniert. Die Figur des Königs ist durch die eines Theaterdirektors ersetzt, und die Handlung spielt sich auf drei simultanen Ebenen ab: im Kopf des Opern- direktors, auf der Bühne während einer Aufführung sowie in den Kulissen und hinter der Bühne.