Word: berio
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Dates: during 1970-1979
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Alea III Debut Concert--Works of Castiglioni, Antoniou, Schuller, Berio, Lutoslawski, Foss and Varese; B.U. School for the Arts, 855 Commonwealth Ave., Boston...
...Works of Berio, Carter, Messiah, Gerhard, Martino, Antoniou, and Schoenberg--Institute of Contemporary...
...Whirligogs," an early work, exhibits the same concerns. Lubovitch, exploring the ways shape and emotional suggestion interrelate, relies on representational gesture just verging on the abstract. Accompanied by Berio's voice collage "Sinfonia," black-hooded dancers appear, then a man and woman in bared dress. The hooded dancers return unmasked, later reappearing disguised, only to toss their masks defiantly to the side, and then again appear as dark spirits surrounding and overwhelming the lovers. Lubovitch uses his costume flexibly, allowing the masks to suggest rather than to define possibilities. He realizes the unanticipated. As a voice in flat monotone recites...
...Berio has begun to create a new kind of music-drama, a miniaturized answer to the Wagnerian epics of the last century. His Sequenza V for trombone is really a theater piece which grows out of a musical core. Body movements are a carefully indicated in the score as the notes. There are instructions about standing and sitting, and the position of the instrument as well as the usual grunts and vowel sounds. To add to the effect, the player is expected to wear a clown costume. It is this sense of theater, this reliance on dramatic rather than musical...
According to Robinson, the clown is a fitting emblem for Berio personally and for his music--a distraught, confused surface which believes a deeper pathos and sensitivity. And like a clown, Berio is deeply motivated by the theatrical impulse. So despite the fragmentation and lack of hummable tunes in his music you can sense that he has remained committed to the audible dramatic gesture...