This collection of works for unaccompanied voices is bookended by works by singer Cathy Berberian and composer Luciano Berio, who were once married to each other. John Cage's Story is a movement of his percussion quartet Living Room Music, while Young Turtle Asymmetries is by Cage's pupil Jackson Mac Low and Roger Marsh's Not a Soul But Ourselves is set to a text by James Joyce. Usually done solo, Berberian's Stripsody, with its score consisting solely of cartoons, is sung here by a trio and must be heard to be believed.
Ondine continues its exciting releases focusing on 20th century masterpieces together with conductor Hannu Lintu and the Finnish Radio Symphony Orchestra. This release is dedicated to the orchestral works by the pioneer of Italian modernism Luciano Berio. Berio’s 5-movement Sinfonia, is undoubtedly his most well-known work, written for the New York Philharmonic and dedicated to Leonard Bernstein. It has become one of the key works and principle musical manifestations of the 1960s bringing together collage technique and modernism.
After so many benchmark recordings of the music of our time, the members of the Arditti Quartet were bound to give us one day a complete survey of the string quartets of Luciano Berio, the great Commendatore figure who has dominated Italian music since the 1950s. In point of fact, this programme takes in almost the whole career of the composer of Sequenze, from his Quartet no.1 of 1956, still under the influence of serialism, up to the Glosse of 1997 which are, as their title suggests, 'a collection of brief annotations, and at the same time a short dictionary of idiomatic sonic gestures'. In this fully mature work, Berio resolves in magisterial fashion the problem of the search for new instrumental solutions that is characteristic of the fascinating Sincronie (1963-64), an attempt to make the string quartet sound like 'a single homophonic instrument'. The final work in the programme, the Notturno (1993) presents an atmosphere of extreme expressive concentration, in which sound is born of silence (pppp quasi senza suono) and returns there.
In his opening remarks, Marco Blaauw admits that only latterly did he enjoy the extrovert tendencies of his instrument – and this recital “shows off” in exemplary fashion. Only Hanna Kulenty’s Brass No 1 is a truly abstract study: the first in a cycle of trumpet-centred pieces that puts the double-bell instrument as thoroughly and as scintillatingly through its paces as any music written from a non-jazz perspective.
Maderna was a well-loved, respected creator composer conductor.Boulez's orchestral "Rituel" is dedicated to his memory.
He initiated, instigated much in the early years in Italy,the cultural backward freeze in contemporary expression around Venice then Milan, founding with Luciano Berio, Italy's first electronic music studio.