Word: berio
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Dates: during 1960-1969
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...première of Italian Composer Luciano Berio's Sinfonia, New York, 1968. Popular...
...lack is a properly equipped laboratory for electronic music-probably because Juilliard regards electronic composers as a threat to the traditional instrumental playing it must teach. But at least one student complained: "They should sell some of that wall-to-wall carpeting and buy some electronics equipment." Composer Luciano Berio, who teaches composition at the school, feels that electronic music is indispensable. "The curriculum is incomplete without it," he says flatly...
...made by man, from primitive African chants to serialistic chamber music - "the old, the new, the modern, the academic, the screwball," as Conductor Erich Leinsdorf puts it - is easily available to increasingly sophisticated listeners. What the composer writes is indelibly affected by that fact. Italy's Luciano Berio notes that Debussy was influenced by Javanese music, but had to discover it by pure chance. If it had not been per formed at the Paris Universal Exhibition in 1889, he would -never have known of its existence. "Today," adds Berio, "re cordings provide a constant Universal Exhibition...
What pleases all composers is the way the LP has broadened the taste and intelligence of the listener. "Once only kings made love to music," says Berio. "Now everybody does." Adds Germany's Hans Werner Henze: "Audiences have learned to hear pieces of music more than once and thus have acquired a training in hearing musical structures." That kind of knowing audience has made possible a new mode of composition in which snippets from, say, the Baroque, French Impressionism and Viennese post-Romanticism are pasted into surrealistic aural collages that would lose much of their point for anyone...
...past, Hector Berlioz was perhaps the first to pay much attention to the symphonic battery of drums. Later on, Stravinsky and Bartok proved that percussionists could do more interesting things than simply thump out a basic rhythm. Nowadays such avant-gardists as Pierre Boulez, John Cage, Luciano Berio and Karl-heinz Stockhausen treat the percussionist as a performer with rights (and responsibilities) equal to any other soloist...