Word: berio
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...hard to tell exactly which side Berio is on. Despite the fragmented quality of much of his writing and his preoccupation with electronics, he remains a surprisingly lyrical composer. Paula Robinson, who directed a recent Harvard Chamber Players performance of Differences, likened Berio to "a troubadour being harassed by machines, yet still loving them." Individual lines are full of wide leaps and bizarre, shifting rhythms, but like Jackson Pollock's dribblings of paint, the lines fuse into a seamless fabric when played together. The sound is not thoroughly blended or homogenized like that of a Romantic string quartet, but there...
Like many composers of the past 25 years, Berio has devoted himself largely to chamber music. Like the epic poems and the panoramic landscape paintings, the symphony has been going through hard times recently. Instead of music conceived and executed on the grand scale, composers have turned to smaller forms because they offer greater involvement for both performers and audiences...
...chamber music, it is easy for the performers to join in the compositional process through improvisation. Berio's manner of notating his pieces calls for vast interpretive powers from the performers. His Circles, for example, has no bar lines. Berio does indicate some points at which the singer, harpist, and percussionists are expected to arrive at the same time, and notes of specified pitch which are written at varying distances from each other to suggest duration. But within that skeletal visual framework, the performers must create the piece. There are also areas, set off in boxes, within which the performers...
...this kind of notation restores the performer to the eminence he enjoyed during the Baroque era when the written notes were often treated as a rack on which to drape gaudy ornaments. But those ornaments were determined by narrowly evolved traditions, while in Berio there is the love of chance for its own sake. Berio has helped to transform the delicate creature of Baroque ornamentation into an ugly chance-created monster which often seems to subsume the composed framework. It is a monster that Berio uses to express the disorder of contemporary life...
...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...