- published: 23 Oct 2013
![Zimmerman Photoptosis & Berio Sinfonia - Royal Concertgebouw Orchestra [HD]](http://web.archive.org./web/20131023222116im_/http://i.ytimg.com/vi/PbmzU19Jwg4/0.jpg "Zimmerman Photoptosis & Berio Sinfonia - Royal Concertgebouw Orchestra [HD]")
![Mike Patton / Luciano Berio - Part Three [Laborintus II]](http://web.archive.org./web/20131023222116im_/http://i.ytimg.com/vi/xSJ4byklOkk/0.jpg "Mike Patton / Luciano Berio - Part Three [Laborintus II]")
![Mike Patton / Luciano Berio - Laborintus (Excerpt) [Laborintus II - 2010]](http://web.archive.org./web/20131023222116im_/http://i.ytimg.com/vi/6uEeGvyQlJ4/0.jpg "Mike Patton / Luciano Berio - Laborintus (Excerpt) [Laborintus II - 2010]")
![Zimmerman Photoptosis & Berio Sinfonia - Royal Concertgebouw Orchestra [HD]](http://web.archive.org./web/20131023222116im_/http://i.ytimg.com/vi/PbmzU19Jwg4/default.jpg "Zimmerman Photoptosis & Berio Sinfonia - Royal Concertgebouw Orchestra [HD]")
![Mike Patton / Luciano Berio - Part Three [Laborintus II]](http://web.archive.org./web/20131023222116im_/http://i.ytimg.com/vi/xSJ4byklOkk/default.jpg "Mike Patton / Luciano Berio - Part Three [Laborintus II]")
![Mike Patton / Luciano Berio - Laborintus (Excerpt) [Laborintus II - 2010]](http://web.archive.org./web/20131023222116im_/http://i.ytimg.com/vi/6uEeGvyQlJ4/default.jpg "Mike Patton / Luciano Berio - Laborintus (Excerpt) [Laborintus II - 2010]")
21 min 11 sec
Luciano Berio: Visage (1961)
Luciano Berio (1925-2003): Visage, per voce e nastro magnetico (1961).
Cathy Berberian, ...
published: 23 Oct 2013
Luciano Berio: Visage (1961)
Luciano Berio (1925-2003): Visage, per voce e nastro magnetico (1961).
Cathy Berberian, voce.
Cover image: Louis Boilly (1761-1845) - "Thirty-six faces of expression".
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The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 23 Oct 2013
9 min 43 sec
Luciano Berio Portrait Part 1
Luciano Berio, Cavaliere di Gran Croce OMRI[1] (October 24, 1925 May 27, 2003) was an Ita...
published: 23 Oct 2013
Luciano Berio Portrait Part 1
Luciano Berio, Cavaliere di Gran Croce OMRI[1] (October 24, 1925 May 27, 2003) was an Italian composer. He is noted for his experimental work (in particular his 1968 composition Sinfonia for voices and orchestra) and also for his pioneering work in electronic music.
http://en.wikipedia.org/wiki/Luciano_Berio
- published: 23 Oct 2013
14 min 59 sec
Luciano Berio: Differences (1959)
Luciano Berio (1925-2003): Differences, per 5 strumenti e nastro magnetico (1959).
membri...
published: 23 Oct 2013
Luciano Berio: Differences (1959)
Luciano Berio (1925-2003): Differences, per 5 strumenti e nastro magnetico (1959).
membri del Juilliard Ensemble:
Jeanne Bextresser, flauto
Virgil Blackwell, clarinetto
Kaaren Philips, viola
Fred Sherry, violoncello
Kathleen Bride, arpa.
Cover image: Photo by Giancarlo Melandra - "Particolare di una nave Cargo" (2006).
****
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 23 Oct 2013
9 min 21 sec
Luciano Berio, Sequenza II for Solo Harp
Performed live by harpist Yinuo Mu (2002). http://www.yinuo.com.au
Written in 1963, Seque...
published: 23 Oct 2013
Luciano Berio, Sequenza II for Solo Harp
Performed live by harpist Yinuo Mu (2002). http://www.yinuo.com.au
Written in 1963, Sequenza II is a composition for unaccompanied harp by the Italian composer Luciano Berio. As with most of the Sequenze, Berio sought to explore the timbral and expressive capabilities of the harp in the hands of a virtuoso musician. Because of this, Sequenza II defies many of the stereotypes associated with the harp.
- published: 23 Oct 2013
28 min 27 sec
Luciano Berio: Epifanie (1961)
Luciano Berio (1925-2003): Epifanie, per voce e orchestra su testi di Proust, Machado, Joy...
published: 23 Oct 2013
Luciano Berio: Epifanie (1961)
Luciano Berio (1925-2003): Epifanie, per voce e orchestra su testi di Proust, Machado, Joyce, Sanguineti, Simon, Brecht (1961).
Cathy Berberian, voce
Orchestra della RAI di Roma diretta da Luciano Berio.
Registrazione dal vivo, Roma, 15 Marzo 1969.
Cover image: painting by Michel Keck.
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be apreciated.
- published: 23 Oct 2013
35 min 9 sec
Luciano Berio: Rendering (1989)
Luciano Berio (1925-2003): Rendering, su frammenti di Franz Schubert per la Decima Sinfoni...
published: 23 Oct 2013
Luciano Berio: Rendering (1989)
Luciano Berio (1925-2003): Rendering, su frammenti di Franz Schubert per la Decima Sinfonia (1989).
I. Allegro
II. Andante
III. Allegro
Orchestre de Paris diretta da Christoph Eschenbach.
Cover image: The house of Franz Schubert.
****
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 23 Oct 2013
43 min 36 sec
Luciano Berio: C'è musica e musica (1972). Puntata I: Ouverture
C'è musica e musica, programma televisivo di Luciano Berio a cura di Vittoria Ottolenghi p...
published: 23 Oct 2013
Luciano Berio: C'è musica e musica (1972). Puntata I: Ouverture
C'è musica e musica, programma televisivo di Luciano Berio a cura di Vittoria Ottolenghi per la regia di Gianfranco Mingozzi (1972).
Puntata No.1: Ouverture.
Luciano Berio ci accompagna nel più interessante viaggio dentro la musica mai apparso in televisione attraverso testimonianze, opinioni, idee, ma soprattutto importanti interrogativi sul ruolo della musica nella storia e, in particolare nel nostro tempo. Nel tentativo di dare se non delle risposte definitive quantomeno importanti spunti di riflessione, Berio si avvale della collaborazione di alcune delle più importanti menti musicali del '900 come Cage, Boulez, Ligeti, Maderna, Stockhausen, Copland, Milhaud, Tippett, Nono, Xenakis, Penderecki, Petrassi, Henze, Dallapiccola, Bernstein, Pousseur, Messiaen, in uno straordinario laboratorio di opinioni che rappresenta il più completo panorama di idee possibile su cos'è la musica oggi.
In questa puntata: Cos'è la musica?
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 23 Oct 2013
2 min 37 sec
Berio: Folk Songs: I. 'Black is the colour...' [with score]
The first of Luciano Berio's arrangements of 11 Folk Songs, "Black is the Colour of My Tru...
published: 23 Oct 2013
Berio: Folk Songs: I. 'Black is the colour...' [with score]
The first of Luciano Berio's arrangements of 11 Folk Songs, "Black is the Colour of My True Love's Hair" (which is Scottish, not American as it says here on the score). Performed by the lovely Cathy Berberian.
- published: 23 Oct 2013
14 min 22 sec
Luciano Berio - Linea
Linea, ballet for 2 pianos, vibraphone & marimba (1974)
Paola Biondi & Debora Brunialti, ...
published: 23 Oct 2013
Luciano Berio - Linea
Linea, ballet for 2 pianos, vibraphone & marimba (1974)
Paola Biondi & Debora Brunialti, piano
Domenico Cagnacci, vibraphone
Dario Doriani, marimba
The postmodern "tradition" to which Berio's said to belong has among its defining marks an enmity toward linear narratives, indeed to the notion of line in general. You can see this especially in Berio's approach to theater, where the aspects of plot and story previously essential to both play and opera aren't merely avoided, but exploded, deconstructed, wildly antagonized by all manner and means. Events in Berio's theater works don't follow each other in sequential threads and logical causalities; rather, they radiate in all direction, tumble over and through each other. Everything's all mixed up, spinning in a kind of semiotic vortex by which chronological thought is thoroughly stewed. Now, before, after -- everything takes flight in a wild simultaneity.
But you get rid of something, and, magically, it shows up somewhere else. And as committed to non-linear thinking as Berio has been in his theatrical works, he has been equally preoccupied in his purely instrumental pieces with the thread linear. It's even there in the titles -- "Bewegung" (Movement), "Points on a Curve to Find...," the Sequenzas, their "Chemins" (Paths), and, not least, a work like 1973's Linea for two pianos, vibraphone, and marimba. In works like these, everything is meticulously drawn from itself in an intimate game of moment-by-moment transformations: the preceding sounds slip into the subsequent ones within a process of virtuosic auto-genesis. And likewise, the sense of erupting, diaphanous simultaneity that is the hallmark of Berio's theater-work seems to conglomerate into a monodic integrity, almost chant-like; pieces are not built, but spun and woven, plaited into self-perpetuating threads.
In this light, the score of Linea, while being one of Berio's more modest efforts, is also one of his most rapt and magical; it operates in a scrupulously "linear" (though not at all "progressive") fashion, but also seems to possess an uncanny sagacity about its own movements; it's at once forward-looking and wise-to-itself, a meta-linear work. It begins with a hypnotically simple contour of oscillating minor thirds (the door-bell sign, or a child's "Mo-mmy"), and Berio's orchestration of the ensemble, in which everyone plays in exact unison, gives it a gaslight-like shimmer. This total unity only initiates, however; soon individuals are breaking away from this incandescent sound-beam, catalyzing a game of convergence and divergence with the regularity of weaving -- the threads are brought together and pulled apart in persistent oscillations. Apparitions of all kinds materialize from and dissolve into the flow -- images of tonality, of cadence, of pulse and even dance -- but what most impresses is Berio's ability to balance repetition with newness, the heard with the as-yet-unheard, and the singular and still with the constantly developing. If Berio's theater-pieces are in many ways mirrors held up to the multifarious tumult of worldly life, works like Linea are more like flames, mirrors-turned-lamps: their imaging seems to come from some flickering, infirm in-ness, delivered in degrees to itself. [allmusic.com]
Art by Mikhail Larionov
- published: 23 Oct 2013
7 min 34 sec
Luciano Berio - Chamber Music
Chamber Music, for female voice, clarinet, cello & harp (1953)
I. Strings in the Earth an...
published: 23 Oct 2013
Luciano Berio - Chamber Music
Chamber Music, for female voice, clarinet, cello & harp (1953)
I. Strings in the Earth and Air
II. Monotone
III. Wind of May
Marco Lazzara, alto
Lucia Rosati, clarinet
Giovanni Scaglione, cello
Alessandra Magrini, harp
Chamber Music for female voice, clarinet, cello, and harp is one of Luciano Berio's first important pieces. He wrote the three settings of James Joyce poems in 1953 for soprano Cathy Berberian, who was his wife at that time. Although Chamber Music is basically twelve-tone, Berio's use of the technique avoids many of the prevailing ultra-controlled applications of serial systems. While Berio's work, as with the work of his close colleagues, is informed by the system that was so pervasive among the 1950s avant-garde, he rarely used twelve-tone techniques in an orthodox fashion. Instead, he applies this technique as a set of tools with which to create a given composition's internal hierarchies. Chamber Music is a case in point: Berio's flexible use of a twelve-tone row and its permutations (inversion, retrograde, and so on) allows for repeated note cells or closely cycling fields of pitches comprising only part of the row, for example.
A lyric element evident in the vocal line and inherent in the row itself may be traced in part to Berio's contact with Luigi Dallapiccola -- the most lyric of serialists -- at Tanglewood, in the summer of 1952, and through studies of the older composer's scores. In general terms, the textures of Chamber Music tend toward the austere quality of Webern, pointillism, the supple application of dynamics, and the note-by-note shifts in instrumentation known as klangfarbenmelodie. Berio's choice of the poetry of James Joyce and the almost theatrical stance of each setting evince the composer's wide-ranging interest in the modernist literature, which is quite evident in Laborintus II, Sinfonia, La vera storia, and other pieces. The three poems are "Strings in Earth and Air," "Monotone," and "Winds of May." "Strings in Earth and Air," the longest of the three settings, begins with harp and voice; cello and harp join in rhythmically prosaic contrapuntal accompaniment. Only the voice takes a consistently lyric line, with more subtle rhythms and a well-shaped line. The ensemble fills out the serialized harmonic field. Berio sets much of "Monotone" on a single pitch, with an arpeggiated flourish for effect later in the song. The brief setting of "Winds of May" is spoken in the beginning and the end, while the middle lines have a windy word-painting that is matched throughout the song by quick, blustery instrumental writing.
The settings of Chamber Music are deft, and although they don't match the complexly connected text-and-music pieces found in Berio's career, the melodic lines, contrapuntal accompaniment, and flexible use of the twelve-tone armature represent a step along the way to his mature style. [allmusic.com]
Art by Salvador Dalí
- published: 23 Oct 2013
5 min 11 sec
Flo Menezes fala sobre as Sequenze de Luciano Berio
Nesta trecho de entrevista o compositor Flo Menezes, desvela as tramas da composição do c...
published: 23 Oct 2013
Flo Menezes fala sobre as Sequenze de Luciano Berio
Nesta trecho de entrevista o compositor Flo Menezes, desvela as tramas da composição do conjunto de obras "Sequenza" do compositor italiano Luciano Berio. Entrevista concedida a Raimo Benedetti por ocasião de pesquisa para o espetáculo Sequenze.
- published: 23 Oct 2013
