Edoardo Sanguineti’s letter to Luciano Berio of November 8 [], Esposizione, Traces and Laborintus II indeed share a type of distorted reflection of. Vic Hoyland on Laborintus II by Berio. Berio sent a postcard to Edoardo Sanguineti his friend and Dante scholar (at Via Vespucci, 25, Torino – 7 June ’62). Discover Edoardo Sanguineti & Luciano Berio’s track Laborintus 2. Complete your Edoardo Sanguineti & Luciano Berio record collection. Shop new and used .

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By this letter one can deduce that the involvement of Sanguineti in Esposizione was after that of Ann Halprin already begun back in March of Like the text, the music is structured into esoardo panels to be performed in different or alternative combinations see Examples 3 and 4, reproductions of the first two pages of the score A labodintus of Patton’s narration over the free-form orchestral composition.

Skip to main content. Kleman described the composition as “somber, beautiful, and ominous, but always affecting”. It must be said that Giardino dei Finzi Contini is an example, chosen on purpose, of an ephemeral novel41, and for this reason to be applied and replaced beyondfrom year to year, with another classic entertainment novel of our bourgeoisie that the twelve literary months produce from time to time.

Individual words and sentences are sometimes to be regarded as autonomous entities, and sometimes to be perceived as part of the sound structure as a whole. Inutile anche avvertire che non conviene appesantire con troppi richiami eruditi la snellezza del catalogo. Pulling from his original work of poetry Laborintus, published inSanguineti also wove in lines from Dante, T.


Laborintus II programme notes – Squares Circles Labyrinths – Productions – Home

These are works that share more than one aspect: A furious sound of drumming, change of color: La prossima volta, il sangukneti This is the way in which we were able to alter that proscenium and allow the dancers to be able to move vertically.

From ” Esposizione ” to ” Laborintus II “: In order they are: The performance was recorded live at the Holland Festival. Dead Cross General Patton vs.

On the influence of electronic music on Berio’s compositional practices, the author refers to her work, Riflessi del suono elettronico: Retrieved January 5, Laborintus II is a catalogue of references, attitudes and elementary instrumental techniques; a rather didactic catalogue, like a school book dealing with Dantesque visions and musical gestures. Si intitola Traces, su un testo di Susanne [sic] Oyama ispirato al libro dello scrittore negro James Baldwin Il fuoco la prossima volta.

Ricerca Search this site: Kuo, An Americanization of Berio, op. It was precisely at Mills College, during an intensive period of teaching, that Berio began writing Laborintus IIsometime in It consists of different preparatory fragments in English and Italian for a lecture given at Harvard in at wdoardo invitation of Nino Pirrotta.

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Laborintus II (author’s note) | Centro Studi Luciano Berio – Luciano Berio’s Official Website

Born in northern Italy, Berio inherited music from laboritnus family as a kind of first language. The bottoms were stretched out like wings over the orchestra pit and way back into the stage. He had been asked to write a small opera for the Venice Biennale. The fixity of the pre-recorded sounds and events paradoxically allowed sanguieti live performance to be made even more fluid: Mengeling van tederheid en achterdocht, die misschien wel de essentie zelf is van muziek.


We enjoyed an exemplary form of artistic cooperation, starting from the first rehearsals and discussions about how to interpret the text. The instrumental parts are developed mainly as an extension of the vocal actions of singers and speakers, and the short section of electronic music is conceived as an extension of the instrumental actions.

Laborintus II programme notes

S — pregate il Signore degli angeli pregate il Signore bianco! The Solitude of Prime Numbers And the children sleeping We started out with the architecture of the Venice Opera House. A mimed tale for mezzo-soprano, 8 actors, ballet and orchestra was performed on September 21, at the XXII International Music Festival of the Venice Biennale please note that some catalogues erroneously carry the date sanguineit the 23rd.

Third and final Sanguineti text. Diagram of the scenic evolution of Traces.

It is with this premise that one can understand why, as much in Esposizione as in Laborintus II, the textual and musical themes of consumption, of commodification and of the piling up of heterogeneous materials, are based on that of the consumption of spectacularization.

Love inflames the memory.

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