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  • Berio: Differences; Sequenzas III & VII; Due pezzi; Chamber Music
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Berio: Differences; Sequenzas III & VII; Due pezzi; Chamber Music Import

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Audio CD, Import, February 26, 2007
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Product Details

  • Audio CD (February 26, 2007)
  • Number of Discs: 1
  • Format: Import
  • Label: Lilith
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #929,276 in Music (See Top 100 in Music)

1. Differences
2. Sequenza Iii
3. Sequenza Vii
4. Due Pezzi
5. Chamber Music

Editorial Reviews

Collection of works (1951-1969) by Italian avant-garde composer and sound pioneer Luciano Berio. Featuring performances by mezzo soprano (and muse of such composers as Stravinsky, Bussotti and Henze) Cathy Berberian and leading oboe virtuoso Heinz Hollinger, as well as one of the first attempts to combine live instrumentation with pre-recorded sound. Lilith. 2007.

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Most Helpful Customer Reviews

In 1969, Philips recorded some of Luciano Berio's early pieces. The Juillard Ensemble perform on the larger pieces, but what really makes this an important document is the presence of dedicatees Heinz Holliger (oboe) and Cathy Berberian (soprano) in the Sequenzas. Philips even reissued the vinyl on CD, but it is now quite hard to find. This Amazon listing describes a re-release by the mysterious Russian label Lilith, but it's unclear what it is authorized or not. I'd recommend looking instead to the Newton Classics reissue; that label is doing great work recently in affordably reissuing classic recordings that the major labels shamefully let fall out print.

The Two Pieces for Violin and Piano (1951) are short studies clearly inspired by Webern. The unique voice that Berio brought to high modernism, sometimes by drawing on his native Italian tradition and sometimes by making his own innovations, is not yet present here. Luckily, the next piece here chronologically, the Joyce setting "Chamber Music" for soprano, cello, clarinet and harp (1953) shows that individuality, especially in its treatment of the vocal part. It even has humour, as the second poem "Monotone" has the singer never wavering from a single pitch.

"Differences" for ensemble and tape (1958) matches the playing of the instrumentalists with the same sounds recorded on tape and electronically altered. Sometimes the tape part is recogizable as the live instrumental part it accompanies, while at other times it is changed beyond recognition. However, this is much not quite as cool as it sounds.
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