Andrea Sanguineti News
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Luciano Berio: Sequenze
On the 15th anniversary of the death of Luciano Berio.Luciano Berio (1925-2003)The Complete Sequenzas (with verses by Edoardo Sanguineti) and Alternate SequenzasWorks for Solo Instruments: Rounds, Gesti, Fa-Si, Les mots sont allés..., Lied, Comma, Psy, Chanson pour Pierre Boulez, Gute NachtVarious Artists*mode records 161/3 (2006). Recorded 1995-2006[flac, cue, log, partial scans (English text)]* Sequenzas: E. Salomone speaker, P. Robison flute, S. Jolles harp, I. Ganz mezzosoprano, A. Takahashi piano, S. Dempster trombone, G. Knox viola, J. Leclair oboe, I. Arditti violin, C. Robinson clarinet, K. Thomas alto saxophone, W. Forman trumpet, S. Josel guitar, N. Shimada bassoon, S. Hussong accordionAlternate sequenzas: R. de Saram cello, U. Krieger soprano saxophone, A. Billard bass clarinet, S. Scodanibbio contrabassSolo Works: J. Chapman harpsichord, L. Mense recorder, G. Verkade organ, M. Cameron contrabass, B. McWohrter trumpet, R. de Saram cello, C. Robinson clarinetLuciano BerioLaborintus 2Christiane Legrand, Janette Baucomont sopranos, Claudine Meunier contralto, Edoardo Sanguineti speakerEnsemble Musique VivanteLuciano BerioHarmonia Mundi HMA 195764 (2000). […]
Norman Lebrecht - Slipped disc
2017-01-11 11:48:15
How long should a music director stay?
It’s a day of maestro departures. Lan Shui has told Singapore he’s stepping down after 20 years. Robert Moody told one of his two US orchestras that ten years was an ideal term. He’s leaving after 13. The Italian Andrea Sanguineti is quitting Saxony after just five years. There’s no apparent friction in any of these departure, just a sense that it’s time to move on. Is there an x-year itch for conductors and orchestras? What does one do when a maestro outstays his usefulness? Who is presently the longest-serving music director? Zubin? Which ones have stayed too long?
Tom Service on classical music
2013-04-01 14:59:43
[…] is precisely its strength. Instead, Goehr's works – like the dark drama of the misleadingly titled Little Symphony, the bleaker-still strains of the Symphony in One Movement, the heightened emotional drama of the Piano Concerto, or the concentrated drama of Behold the Sun for soprano and ensemble – are invitations to get stuck into the labyrinths of contemporary music's tussle with the musical past, to feel the mud on music's historical shoulders (to paraphrase Edoardo Sanguineti, one of Luciano Berio's favourite writers, another composer who refused to reject the past). Or listen to his involvingly knotty Third String Quartet: music like that quartet, or Goehr's other chamber works, makes me think of him as a kind of 21st century Brahms, as a composer as released as he is trapped by tradition. The intensity of the quartet's drama is catalysed by that essential dichotomy. But there are simpler pleasures to be […]
Tom Service on classical music
2012-12-10 17:49:06
[…] of the past, whether his own or of other composers, is our subject for discussion this week. I'm talking about the Italian composer Luciano Berio, who was born in 1926 and died in 2003.A place to start with Berio? Try Laborintus II for voices, instruments and tape, a piece in which not just a musical past but a whole labyrinth of meanings, memories, and histories are conjured by the voices, in the interplay between Edoardo Sanguineti's richly resonant text and Berio's vertiginously surreal collage of references and allusions, to musical pasts of madrigals and polyphony. As Berio puts it, Laborintus II is "a laboratory 'reduced' to the dimensions of performance, where we test theories and practices which can be used as experimental models of real life."And then explore the Sequenzas for solo instruments that Berio started writing in the mid-1950s, which run through the rest of his life in music, […]
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