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Setting the Sound of the Text The organization of the sforzandithe fermatas, and the recurring tonal reference serve as a structural frame for a continuous interaction of the text and music throughout the movement.
Circles (programme note)
In phrase two, the C-sharp occurs at the beginning, middle, and end of the vocal line. Text and Music in Luciano Berio’s Circles. Bdrio programme note Circles for female voice, harp and two percussion players Texts by e. The theatrical aspects of the performance are inherent in the structure of the work itself clrcles is, above all, a structure of actions: Morte can be seen as the climax of the movement for several reasons. In the first phrase, for example, the C-sharp does not occur in the voice until the end bar 6.
Figure 5 In phrase three, the voice again avoids the C-sharp until the climax on morte near the end of the phrase. Sign up for our newsletter!
License request Hire request. The vocal part occasionally adopts a ” detache ” style which prevents us from tracking the voice from one pitch and one speech sound to another as easily as cifcles might. Berio gives precise instructions in the score for the location of the performers and percussion instruments on stage.
Rain in measure 13 could be said to be represented by the instrumental trills.
The work was commissioned by the Fromm Foundation, with a dedication in the score to Mrs Olga Koussevitsky. Figure 8 Coming as it does at the climactic moment of the movement, this overlap between speech the rolled r and non-speech the woodblock roll calls to mind the predominant percussion and harp figuration of betio movement: In Figure 1, it can be seen to coincide with two structurally important moments in the percussion parts: At critical points of change in the evolution of musical languages, text and approaches to text-setting are often given a structural importance they do not have when the syntax of the musical sound itself is more self-evident.
Bberio the Sound of the Text.
Circles (Berio) – Wikipedia
Coming as it does at the climactic moment of the movement, this overlap between speech the rolled r and non-speech the woodblock roll calls to mind the predominant percussion and harp figuration of the movement: In this sense, berjo text is a base line from which everything can be derived and to which everything can be traced back.
I have chosen to examine the first half of the second movement – bars 1 to 26 – to illustrate some of the text-setting techniques Berio employs.
Our composers Luciano Cirles Works Circles. Circles is not a series of vocal fragments with instrumental accompaniment, but rather an elaboration of the three poems in a unified form where vocal and instrumental action strictly condition each other.
Text and Music in Luciano Berio’s Circles
This page was last edited on 31 Marchat Circles Luciano Berio Circles. This is the first recurrence of this gesture.
Berio thus draws upon all aspects of the text – from the syntax of the phrases to the details of the speech sound – to structure this passage. Music is never pure: You will regularly receive information about new scores with free downloads, current prize games and news about our composers. Circlescommissioned by the Fromm Foundation, was composed in and performed in the same year at the Berkshire Music Festival by Cathy Berberian and members of the Boston Symphony Orchestra.
The text falls into three phrases, each of which is framed in one of the three diagrammed phrases. The organization of the sforzandithe fermatas, and the recurring tonal reference serve as a structural frame for a continuous interaction of the text and music throughout the movement.
For example, the word “sting-” at the beginning corresponds exactly to the sound of the harp. The final appearance of C-sharp in the passage is in the melisma on the word morte in bar Circles for female voice, harp and two percussion players Texts by e. In Circles the three poems are arranged in the following order: As indicated in Figure 1, these phrases are articulated by: I had no intention of writing a series of vocal pieces with harp and percussion accompaniment; rather, I was interested in elaborating the three poems in a circular way so that a unified form resulted, where the different levels of meaning, the vocal action and the instrumental action would strictly condition each other, even on the plane of phonetic qualities.
Commissioned by the Fromm Foundation Duration: Structure The structure of the passage is diagrammed in Figure 1. Circles is the result of a convergence between a type of literature that since the beginning of the century “Finnegans Wake” would be an extreme case has achieved a “musical” autonomy and an explosion of traditional forms and a type of music which attempts, by means of the structures of spoken language, to win back the characteristics of all language, whether musical or linguistic.
Luciano Berio: Circles
Of more immediate interest, however, are the extrapolations from the speech sounds in the text to the timbre and figuration in the instrumental parts.
Berio follows an A-B-C-B-A arch form in Circles the text from the first two poems being repeated with a different setting. There can be little doubt, in this context, that his careful attention to the timbres of the text are inspired by the aesthetic of the author of these poems: These sforzandi thus articulate boundaries of activity – and the phrase-structure of the piece.