Luciano Berio: Collage Technique with “Suppressed Political Overtones”?

ȃĩƢĩƪŎƪƷþűěĩƷŻþěƿŦƷƿƢþŦŦǢƢĩƪƷƢŎěƷŎǛĩþĩƪƷʼnĩƷŎěþƟƟƢŻþěʼnŎű/ƿƢŻƟĩ܌þƪƢĩƟƢĩƪĩűƷĩĢĩƪƟĩܮ ěŎþŦŦǢ ĚǢ fþƢŦʼnĩŎűǬ ®ƷŻěţʼnþƿƪĩűܼƪ ǜŻƢţƪ ĚĩƷǜĩĩű ڐژڔڗ þűĢ ڐژږړ ܣűŻƷ ŦĩþƪƷ ƷƢŎłłĩƢĩĢ þűĢ ƢĩŎűܮ ŁŻƢěĩĢ ĚǢ Ʒʼnĩ ěŻůƟŻƪĩƢܼƪ ůƿŦƷŎƟŦĩ ƷƢŎƟƪ ƷŻ Ʒʼnĩ ÃűŎƷĩĢ ®ƷþƷĩƪ þűĢ dþƟþű܌ ދ SSܒڑܤ܌ ǜþƪ ěŻűƪŎĢĩƢܮ þĚŦĩ ŁƢŻů Ʒʼnĩ ĚĩłŎűűŎűłܒ ȃŎƪ Ŏƪ ƢĩǴ ŦĩěƷĩĢ űŻƷ ŦĩþƪƷ Ŏű Ʒʼnĩ ǜŎĢĩƪƟƢĩþĢ Ŧþěţ ŻŁ ƿűĢĩƢƪƷþűĢŎűł þůŻűłʼnŎƪŁĩŦŦŻǜ/ƿƢŻƟĩþűěŻůƟŻƪĩƢƪܣþűĢŎűƟþƢƷþƿĢŎĩűěĩƪܤ܌ǜʼnŻǜĩƢĩƟƢĩƪĩűƷĩĢŎűƷʼnĩĩþƢŦǢ ڐژږڏƪǜŎƷʼnƷʼnĩůƿƪŎěþŦůŎűŎůþŦŎƪůŻŁ®ƷĩǛĩ¦ĩŎěʼnŻƢ¼ĩƢƢǢ¦ŎŦĩǢܣǜʼnŎěʼnǜþƪþŦƪŻŎűƷĩƢěƿŦƷƿƢþŦŦǢ ŻƢŎĩűƷĩĢܤܒ^ڜڢڙhĩƪƪĩǡƟŦŻƢĩĢŎűƷʼnŎƪěŻűƷĩǡƷŎƪhƿěŎþűŻĩƢŎŻܼƪƷĩűĢĩűěǢƷŻǜþƢĢƷƢþűƪĩƷʼnűŎěŎƪůŎű the context of the musical collage technique for which his spectacular Sinfoniaܣڐژڕڗ܌ƢĩǛܒڐژڕژܤ ʼnþƪĚĩěŻůĩŁþůŻƿƪܒFŻƢƷʼnĩƪĩƷĩűĢĩűěŎĩƪŎűĩƢŎŻܼƪǜŻƢţ܌ƷʼnĩůĩƢŎěþűŎűǴ ŦƿĩűěĩůƿƪƷþłþŎű ĚĩþƪƪŎłűĩĢþţĩǢƢŻŦĩܒĩƢŎŻܼƪþěơƿþŎűƷþűěĩǜŎƷʼndŻʼnű þłĩ܌ǜʼnŻʼnþĢěƢĩþƷĩĢFontana Mix in ĩƢŎŻܼƪrŎŦþűĩƪĩ¦SƪƷƿĢŎŻŎűڐژڔڗþűĢěŻůƟŻƪĩĢʼnŎƪAria for Berio’s American-born wife Cathy ĩƢĚĩƢŎþű܌ǜþƪŠƿƪƷŻűĩŻŁƷʼnĩŠŎłƪþǜƟŎĩěĩƪþůŻűłĩƢŎŻܼƪůþűǢěŻűƷþěƷƪǜŎƷʼnƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪܒ SűʼnĩƢڑڏڐڐĢŎƪƪĩƢƷþƷŎŻű܌¼ŎDzŁþűǢrܒfƿŻʼnþƪěŻůƟŎŦĩĢþƟƢĩěŎƪĩěʼnƢŻűŻŦŻłǢŻŁĩƢŎŻܼƪîƪƷþǢƪ

ڷڼڻ ®ĪĪ żżŤ܉ܶßĪŲĪƣÿěŧĪ¼ƣÿģŏƸŏżŲƫ܉ܷڍڌڌܨڍڌڍ܏

ڷڼڼ Havens, Radicals and Realists in the Japanese Nonverbal Arts܉ڎڑڔ܏

ڷڼڽ ®ĪĪ/ǜĪƣĪƸƸ܉ܶrŏƣƣżƣƫżłàĪƫƸÿŲģrŏƣƣżƣƫżł/ÿƫƸ܉ܷڍڔڎ܏

ڷڽڴ ®ĪĪfŧĪŏŲƣÿƸŊ܉ܶrŏŲŏŰÿŧŏƫŰǀƫܕrŏŲŏŰÿŧrǀƫŏĜ܉ܷݎڏړڔ܏

þűĢƷʼnĩŎƢܣěƿŦƷƿƢþŦܮܤƟŻŦŎƷŎěþŦĚþěţłƢŻƿűĢƪܒ^ڜڢښƪĩþƢŦǢþƪڐژڔڑ܌ĩƢŎŻʼnþĢĚĩĩűŎűƷʼnĩƢƷʼnĩ ȀƢƪƷƷŎůĩǜŎƷʼnƷʼnĩƪƿƟƟŻƢƷŻŁþfŻƿƪƪĩǛŎƷǬţǢFŻƿűĢþƷŎŻűƪěʼnŻŦþƢƪʼnŎƟþűĢƟþƢƷŎěŎƟþƷĩĢŎűþěŻů-ƟŻƪŎƷŎŻűěŻƿƢƪĩǜŎƷʼnhƿŎłŎ'þŦŦþƟŎěěŻŦþþƷƷʼnĩĩƢţƪʼnŎƢĩFĩƪƷŎǛþŦŎű¼þűłŦĩǜŻŻĢ܌rþƪƪþěʼnƿƪĩƷƷƪܒ FƢŻůڐژڕڑƷŻڐژږړĩƢŎŻŦŎǛĩĢůþŎűŦǢŎűƷʼnĩî܌ǜʼnĩƢĩʼnĩƷþƿłʼnƷþƷƷʼnĩdƿŎŦŦŎþƢĢ®ěʼnŻŻŦŁƢŻůڐژڕڔ܌

among other activities such as numerous trips and concerts including a prolonged stay in Berlin ŁƢŻůƷʼnĩĩűĢŻŁڐژڕړ܌ŁƿűĢĩĢĚǢƷʼnĩFŻƢĢFŻƿűĢþƷŎŻűܒ^ڜڢڛ

Berio’s Folk SongsŁŻƢůĩǬǬŻܮƪŻƟƢþűŻþűĢƪĩǛĩűŎűƪƷƢƿůĩűƷƪŁƢŻůڐژڕړܣþƢƢþűłĩĢŁŻƢůĩǬ-ǬŻܮƪŻƟƢþűŻþűĢŻƢěʼnĩƪƷƢþŎűڐژږڒܤěþűƟĩƢʼnþƟƪĚĩƪĩĩűþƪƷʼnĩěŻůƟŻƪĩƢܼƪȀƢƪƷþƟƟƢŻþěʼnƷŻþű emphatically multicultural concept that largely eschews any “structural” paradigm in favor of ĩƪƷþĚŦŎƪʼnĩĢܹƷƢþĢŎƷŎŻűþŦܺŎĢŎŻůƪܒSűƷʼnĩƪþůĩƟĩƢŎŻĢ܌ĩƢŎŻܼƪĩǡƟĩƢŎůĩűƷþŦůƿƪŎěƷʼnĩþƷĩƢǜŻƢţƪ more strongly accentuated the political context of the time, in particular the “messa in scena”

Passaggioܣڐژڕڐܫڕڑܤ܌ĚþƪĩĢŻűƷĩǡƷƪĚǢ/ĢŻþƢĢŻ®þűłƿŎűĩƷŎ܌þűĢTracesܣڐژڕڔܤŁŻƢƷǜŻƪŻŦŻŎƪƷƪ܌

ƷǜŻþěƷŻƢƪ܌ƷǜŻěʼnŻŎƢƪ܌þűĢŻƢěʼnĩƪƷƢþĚþƪĩĢŻűƷĩǡƷƪĚǢ®þűłƿŎűĩƷŎþűĢ®ƿƪþűǢþůþ܌ěŻů-ůŎƪƪŎŻűĩĢĚǢƷʼnĩfŻƿƪƪĩǛŎƷǬţǢFŻƿűĢþƷŎŻűܣڐژڕڐܤþűĢěŻűěĩŎǛĩĢŁŻƢþƟƢĩůŎĩƢĩþƷƷʼnĩhŎĚƢþƢǢŻŁ ŻűłƢĩƪƪŎűڐژڕڔܒȃĩĚĩŦþƷĩĢƟƢĩůŎĩƢĩŎűڐژڕژþƷƷʼnĩÃűŎǛĩƢƪŎƷǢŻŁSŻǜþŁŻŦŦŻǜĩĢƷʼnĩƢĩŠĩěƷŎŻű ŻŁƷʼnĩǜŻƢţĚǢƷʼnĩʼnĩþĢŻŁƷʼnĩrƿƪŎě'ŎǛŎƪŎŻűþƷƷʼnĩhŎĚƢþƢǢŻŁ ŻűłƢĩƪƪ܌NþƢŻŦĢ®ƟŎǛþěţĩܒSű ƢĩƪƟŻűƪĩƷŻƷʼnĩůĩƢŎěþű ŎǛŎŦ¦ŎłʼnƷƪrŻǛĩůĩűƷþűĢ£ƢĩƪŎĢĩűƷhǢűĢŻűܒdŻʼnűƪŻűܼƪܣڐژڕڒܫڕژܤ ŎűþƿłƿƢþŦþĢĢƢĩƪƪܣڑږtŻǛĩůĚĩƢڐژڕڒܤ܌ǜŎƷʼnƢĩŁĩƢĩűěĩƷŻdܒFܒfĩűűĩĢǢܼƪƷĩƪƷŎůŻűǢ܌ǜʼnŎěʼnĢĩ- ůþűĢĩĢƷʼnþƷůĩƢŎěþűƪܹĩŦŎůŎűþƷĩŁƢŻůƷʼnŎƪtþƷŎŻűĩǛĩƢǢƷƢþěĩŻŁĢŎƪěƢŎůŎűþƷŎŻűþűĢŻƟƟƢĩƪ-sions that is based upon race or color,”^ڜڢڜĩƢŎŻܼƪǜŻƢţƪʼnŻǜƪʼnŻǜƷƢþěĩƪŻŁƢþěŎþŦĢŎƪěƢŎůŎűþƷŎŻű were still ubiquitous in everyday American life.^ڜڢڝȃƿƪ܌Traces can be understood as a musical analogy to the critique of the reality of President Johnson’s “Great Society” model that appeared ŎűNĩƢĚĩƢƷrþƢěƿƪĩܼƪڐژڕڕĩƪƪþǢܹȃĩSűĢŎǛŎĢƿþŦŎűƷʼnĩGƢĩþƷ®ŻěŎĩƷǢܒܺ^ڜڢڞ ĩƢŎŻܼƪǜŻƢţǜþƪěŻű-ceived exclusively for an African-American ensemble, with the exception of the mezzo-soprano, ŎűǜʼnŎěʼnŻűĩŻŁƷʼnĩŻƟƟŻƪŎűłłƢŻƿƟƪǜþƪƷŻǜĩþƢǜʼnŎƷĩůþƪţƪܒȃŎƪěŻűŁƢŻűƷþƷŎŻűþŦĢƢþůþƷƿƢ-łǢǜþƪŎűǴ ŦƿĩűěĩĢĚǢdĩþűGĩűĩƷܼƪƟŦþǢLes nègresܣڐژڔږܘڔڗܤ܌ǜʼnŎěʼnʼnþĢĚĩěŻůĩƟŻƟƿŦþƢŎűƷʼnĩ îþƷƷʼnĩƷŎůĩƷʼnƢŻƿłʼnþűŻDzŁܮƢŻþĢǜþǢƟƢŻĢƿěƷŎŻűƿűĢĩƢƷʼnĩƷŎƷŦĩȄĩŦþěţƪ.^ڜڢڟ In addition ƷŻƷʼnĩƟƢŻǛŻěþƷŎǛĩŦŎĚƢĩƷƷŻ܌ƷʼnŎƪěŻűěĩƟƷŎŻűǜþƪŁŻƿűĢƷŻĚĩŎűěŻůƟþƷŎĚŦĩǜŎƷʼnƷʼnĩŻDzȀěŎþŦŦŎűĩ ŻŁܹěŻűƷþŎűůĩűƷܺþűĢƿŦƷŎůþƷĩŦǢŦĩĢƷŻ®ƟŎǛþěţĩܼƪƢĩŠĩěƷŎŻűܒ^ڜڢڠ By contrast, Passaggio (which had caused massive public protests at the premiere in the Piccola ScalaŎűrŎŦþűŎűrþǢڐژڕڒ^ڜڢڡܤ܌þ ǜŻƢţěŻůůŎƷƷĩĢƷŻŎűƷĩƢþěƷŎŻűþűĢěʼnþŦŦĩűłŎűłƷʼnĩþƿĢŎĩűěĩŎűƷʼnĩƪĩűƪĩŻŁĩƢƷŻŦĢƢĩěʼnƷܼƪ

ڷڽڵ fǀż܉ܶ żŰƠżƫŏŲŃŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܏ܷ

ڷڽڶ Sěŏģ܏܉ڍڏ܏

ڷڽڷ ¥ǀżƸĪģŏŲŏěŏģ܏܉ڏڏ܏

ڷڽڸ ¼ŊĪƣÿƸŏǿĜÿƸŏżŲżłfĪŲŲĪģǣܹƫdǀŲĪڍڕڒڏ ŏǜŏŧ¦ŏŃŊƸƫĜƸ܉ǝŊŏĜŊěÿŲŲĪģƣÿĜŏÿŧģŏƫĜƣŏŰŏŲÿƸŏżŲÿŲģƣÿĜŏÿŧƫĪŃƣĪŃÿ-ƸŏżŲ܉ǝÿƫģĪŧÿǣĪģěǣ żŲŃƣĪƫƫłżƣÿŧŰżƫƸÿǣĪÿƣÿŲģǝÿƫŲżƸƫŏŃŲĪģěǣdżŊŲƫżŲǀŲƸŏŧڎdǀŧǣڍڕڒڐ܏

ڷڽڹ NĪƣěĪƣƸrÿƣĜǀƫĪ܉ܶ¼ŊĪSŲģŏǜŏģǀÿŧŏŲƸŊĪGƣĪÿƸ®żĜŏĪƸǣܷ ܞŧĪĜƸǀƣĪÿƸ®ǣƣÿĜǀƫĪÃŲŏǜĪƣƫŏƸǣ܉ڍڎܕڍڍܕڍڕڒڑܟ܏FŏƣƫƸƠǀěܫ lished in Alternatives ڍܕڍܠڍڕڒڒܡ܉ݎڍڐܨڍڒܕڎڌÿŲģڍܕڎܠڍڕڒڒܡ܉ڎڕܨڏڑ܏®ĪĪfǀż܉ܶ żŰƠżƫŏŲŃŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷ

ڍڌڎܨڍڌڐ܏

ڷڽں ®ĪĪfǀż܉ܶ żŰƠżƫŏŲŃŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷڏړܨڏڔ܏

ڷڽڻ Sěŏģ܏܉ڏڒܨڏڕ܏

ڷڽڼ Sěŏģ܏܉ڏڒܔƫĪĪÿŧƫż/ŊƣŰÿŲŲܫNĪƣłżƣƸ܉ܶ¼ĪÿƸƣżƠĪƣŃŧŏżƣĪĜĜŊŏ܉ܷ ړڏܨړڑ܏

/ǡþůƟŦĩڗܘږژܑhƿěŎþűŻĩƢŎŻܒSinfoniaܒݗƢĩʼnĩþƢƪþŦűƿůĚĩƢ żƠǣƣŏŃŊƸޣڍڕړڎěǣÃŲŏǜĪƣƫÿŧ/ģŏƸŏżŲܠhżŲģżŲܡhƸģ܏܉hżŲģżŲ

II Triangle

ĩƟŎěƷʼnĩþƷĩƢþűĢ/ƢǜŎű£ŎƪěþƷŻƢܼƪƟŻŦŎƷŎěþŦƷʼnĩþƷĩƢ܌ŦþƢłĩŦǢĚĩűĩȀƷƷĩĢŁƢŻůþĢŎƪƷŎűłƿŎƪʼnĩĢƟƿĚܮ lic^ڜڢڢþƷƷʼnĩڐژڕږîƟƢĩůŎĩƢĩþƷƷʼnĩdƿŎŦŦŎþƢĢ®ěʼnŻŻŦþűĢNþƢǛþƢĢÃűŎǛĩƢƪŎƷǢ܌ƪƿƟƟŻƢƷĩĢĚǢƷʼnĩ

¦ŻěţĩŁĩŦŦĩƢFŻƿűĢþƷŎŻűܒSűƷʼnŎƪǜŻƢţ܌ƷʼnĩƟƢŻĚŦĩůŻŁĢŎƪěƢŎůŎűþƷŎŻűǜþƪƷƢĩþƷĩĢŎűþůŻƢĩłĩűܮ eralized social sense,^ڝڙڙŦĩƪƪĢŎƢĩěƷŦǢěŻűŁƢŻűƷŎűłěŻűƷĩůƟŻƢþƢǢîƟŻŦŎƷŎěƪܒ

hþƷĩƢ ǜŻƢţƪ ĚǢ ĩƢŎŻ ƪƿěʼn þƪSinfonia and Coro ܣڐژږڔܫږڕܤ ƢĩþěƷĩĢ ƷŻ Ʒʼnĩƪĩ ěŻűǴ ŦŎěƷŎűł ĩű-counters with Realpolitik insofar as they radically expanded the plurality of cultural associa-ƷŎŻűƪþűĢƪƷǢŦŎƪƷŎěŦĩǛĩŦƪþŦƢĩþĢǢŦþŎĢĢŻǜűŎűƷʼnĩƷǜŻþŁŻƢĩůĩűƷŎŻűĩĢůƿƪŎěƷʼnĩþƷĩƢǜŻƢţƪŎűƷŻ a comprehensive collage, ironically undermining overt political statements. In the third move-ment of Sinfonia, Berio paraphrases a sentence from a separate essay published in the same year ܣڐژڕڗܤܫŎűƷĩƢƢƿƟƷŎűłƷʼnĩǴ ŦŻǜŻŁþƷĩǡƷƿþŦŦþǢĩƢŁƢŻů®þůƿĩŦĩěţĩƷƷܼƪȄĩÃűűþůþĚŦĩ– shortly þǼƷĩƢƷʼnĩƢĩěþƟŎƷƿŦþƷŎŻűŻŁGƿƪƷþǛrþʼnŦĩƢܼƪ®ěʼnĩƢǬŻŁƢŻůƷʼnĩ®ĩěŻűĢ®ǢůƟʼnŻűǢ܌ǜʼnŎěʼnƪĩƢǛĩƪ þƪþƪƷƢƿěƷƿƢþŦĚþƪŎƪŁŻƢƷʼnĩůŻǛĩůĩűƷܣƢĩʼnĩþƢƪþŦűƿůĚĩƢ܌¼ĩűŻƢS܌/ǡܒݑڑܒڐڒܤ܋ܹܡ܍ܢþŦŦƷʼnŎƪ ěþűܼƷƪƷŻƟƷʼnĩǜþƢ܌ěþűܼƷůþţĩƷʼnĩŻŦĢǢŻƿűłĩƢ܌ŻƢŦŻǜĩƢƷʼnĩƟƢŎěĩŻŁĚƢĩþĢܺ^ڝڙښ (in the essay, there ǜþƪƷþŦţŻŁܹůƿƪŎěܺþƷƷʼnŎƪƟŻŎűƷ܌ǜʼnŎěʼnŎƪƢĩƟŦþěĩĢĚǢܹþŦŦƷʼnŎƪܺŎűƷʼnĩƪěŻƢĩ܌ƷʼnþƷŎƪƷŻƪþǢ܌ŎƷ points self-referentially to the previously heard “music”^ڝڙڛܤܒȃĩěŻűƷĩǡƷþűĢƷʼnĩƪŎůƿŦƷþűĩŻƿƪ layers of additional musical and textual quotations here create a clear distance from any form ŻŁƟŻŦŎƷŎěþŦþěƷŎǛŎƪů܋ƷʼnĩƢĩþƢĩơƿŻƷþƷŎŻűƪŁƢŻů'ĩĚƿƪƪǢܼƪLa mer and Schoenberg’s ƢěʼnĩƪƷƢþŦ PieceŻƟܒڐڕ܌űŻܒݑڐ܌þŦŻűłƪŎĢĩþơƿŻƷþƷŎŻűܣĩǛŻţŎűłƷʼnĩƪĩþܤŁƢŻů£þƿŦßþŦĪƢǢܼƪƟŻĩůܹhþěŎůŎƷŎĸƢĩ ůþƢŎűܒܺȃĩĢŎƪƷþűěŎűłŁƢŻůƷʼnĩƟŻŦŎƷŎěþŦěŻűƷĩűƷŻŁĩƢŎŻܼƪŻǜűƪƷþƷĩůĩűƷŎƪĩǛĩűůŻƢĩĩǡƟŦŎěŎƷ in its second appearance in varied form – at the request “Say it again, louder!” (three measures þǼƷĩƢƢĩʼnĩþƢƪþŦűƿůĚĩƢ܌ŦƷŻݑSܤܗʼnĩƢĩƷʼnĩůŻǛĩůĩűƷĚĩěŻůĩƪŎűǛŻŦǛĩĢŎűþűܹþĚƪƿƢĢܺěʼnþŎű ŻŁþƪƪŻěŎþƷŎŻűƪ܌ܹĢĩƪƟþƢþƷĩܡŦǢܢܺƪƟŻţĩűĚǢ¼ĩűŻƢSݑܣȀǛĩůĩþƪƿƢĩƪþǼƷĩƢƢĩʼnĩþƢƪþŦűƿůĚĩƢܤ܋

ŏƸĜÿŲߴƸƫƸżƠƸŊĪǝÿƣƫ܉ĜÿŲߴƸŰÿŤĪƸŊĪżŧģǣżǀŲŃĪƣżƣŧżǝĪƣƸŊĪƠƣŏĜĪżłěƣĪÿģ܉ĜÿŲߴƸĪƣÿƫĪƫżŧŏƸǀģĪ żƣģǀŧŧƸŊĪƸƣĪÿģżǀƸƫŏģĪƸŊĪģżżƣ܉ǝĪĜÿŲżŲŧǣŲżģ܉ǣĪƫ܉ŏƸߴƫƸƣǀĪ܉ěǀƸŲżŲĪĪģƸżƣĪŰŏŲģ܉ƸżƠżŏŲƸ܉

łżƣŏƸŏƫÿŧŧǝŏƸŊǀƫ܉ÿŧǝÿǣƫ܉ĪǢĜĪƠƸ܉ƠĪƣŊÿƠƫÿƸĜĪƣƸÿŏŲŰżŰĪŲƸƫ܉ŊĪƣĪÿŰżŲŃƸŊĪƫĪƣżǝƫżłěÿŧĜż-ŲŏĪƫ܉ŏŲÿĜƣżǝģżƣżǀƸżłŏƸ܉ƠĪƣŊÿƠƫǝÿŏƸŏŲŃƸżĪŲƸĪƣ܉ǝÿƸĜŊŏŲŃ܏^ښږڙ

In addition, the two textual self-citations are separated by the intervening climactic chord (B ůŎűŻƢŻǛĩƢƷʼnĩĚþƪƪűŻƷĩ ܤŁƢŻůrþʼnŦĩƢܼƪ®ěʼnĩƢǬŻ܌þĚƪƷƢþěƷŎűłƷʼnĩěŻűƷĩűƷŻŁƷʼnĩƪƟŻţĩűƪƷþƷĩ-ments further as part of a formal music-speech dramaturgy.

SűʼnŎƪþƢƷŎěŦĩܹrĩĢŎƷþƷŎŻűŻűþ¼ǜĩŦǛĩܮƷŻűĩNŻƢƪĩ܌ܺŁƢŻůƷʼnĩƪþůĩǢĩþƢܣڐژڕڗܤ܌ĩƢŎŻþĢĢƪƷŻ the sentence quoted in Sinfonia the idea that “[n]ever before […] have responsible composers felt ƪŻěŻůƟĩŦŦĩĢƷŻěʼnþŦŦĩűłĩƷʼnĩůĩþűŎűłŻŁþűĢƢĩþƪŻűƪŁŻƢƷʼnĩŎƢǜŻƢţŎűƢĩŦþƷŎŻűƷŻƷʼnĩǜŻƢŦĢ

ڷڽڽ fǀż܉ܶ żŰƠżƫŏŲŃŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷڍڌڒܨڍڌڕ܏

ڸڴڴ ®ĪĪ/ŊƣŰÿŲŲܫNĪƣłżƣƸ܉ܶ¼ĪÿƸƣżƠĪƣŃŧŏżƣĪĜĜŊŏ܉ܷݎړڏܨړڑ܏

ڸڴڵ ܶŲģǝŊĪŲƸŊĪǣÿƫŤ܉ǝŊǣÿŧŧƸŊŏƫ܉ŏƸŏƫŲżƸĪÿƫǣƸżǿŲģÿŲÿŲƫǝĪƣ܏Fżƣ܉ǝŊĪŲǝĪǿŲģżǀƣƫĪŧǜĪƫ܉łÿĜĪƸżłÿĜĪ܉

Ųżǝ܉ŊĪƣĪ܉ÿŲģƸŊĪǣƣĪŰŏŲģǀƫƸŊÿƸÿŧŧƸŊŏƫĜÿŲߴƸƫƸżƠƸŊĪǝÿƣƫ܉ĜÿŲߴƸŰÿŤĪƸŊĪżŧģǣżǀŲŃĪƣżƣŧżǝĪƣƸŊĪƠƣŏĜĪżł bread” (Berio, Sinfonia܉ݎڔړܨڔڔ܉ƣĪŊĪÿƣƫÿŧŲǀŰěĪƣܡ܏FżǀŲģÿƸŏżŲÿŧƣĪƫĪÿƣĜŊżŲĪƣŏżܹŃƣżǀŲģěƣĪÿŤŏŲŃǝżƣŤ is provided in Altmann, Sinfonia von Luciano Berio, Osmond-Smith, Playing on Words܉ÿŲģÿŲģǀƣ܉ܸܶSƠƣĪłĪƣÿ ǝÿŤĪ܉ܹܷÿŰżŲŃżƸŊĪƣƫ܏

ڸڴڶ ܶàĪÿŧŧŤŲżǝƸŊÿƸŰǀƫŏĜĜÿŲܹƸŧżǝĪƣƸŊĪĜżƫƸżłěƣĪÿģ܉ŏƫŏŲĜÿƠÿěŧĪżłƫƸżƠƠŏŲŃܠżƣƫƸÿƣƸŏŲŃ܉łżƣƸŊÿƸŰÿƸƸĪƣܡ ǝÿƣƫ܉ĜÿŲŲżƸĪƣÿģŏĜÿƸĪƫŧǀŰƫÿŲģŏŲšǀƫƸŏĜĪ܏ܷܠĪƣŏż܉ܶ¼ŊĪ żŰƠżƫĪƣżŲNŏƫàżƣŤ܏ܷܡ®ĪĪfǀż܉ܶ żŰƠżƫŏŲŃŰĪƣܫ ŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷڍڏڑܨڍڏړ܏

ڸڴڷ Berio, Sinfonia܉ڔڕܨڕڍ܏

of events.”^ڝڙڝ In the second movement of Sinfonia܌ ƷŻŻ܌ Ʒʼnĩ ƟŻŦŎƷŎěþŦ ěŻűƷĩűƷ Ŏƪ ůþƢţĩĢŦǢ ƢĩĢƿ-ced in comparison to the overtly political music of Traces܋ƷʼnĩƷĩǡƷƿþŦůþƷĩƢŎþŦŻŁƷʼnŎƪʼnŻůþłĩ ƷŻrþƢƷŎűhƿƷʼnĩƢfŎűłěŻűƪŎƪƷƪĩǡěŦƿƪŎǛĩŦǢŻŁƷʼnĩƪŻƿűĢƪŻŁƷʼnĩűþůĩŻŁƷʼnĩěŎǛŎŦƢŎłʼnƷƪþěƷŎǛŎƪƷ ůƿƢĢĩƢĩĢ ĢƿƢŎűł Ʒʼnĩ ěŻůƟŻƪŎƷŎŻű ŻŁ Ʒʼnĩ ǜŻƢţ ܣړ ƟƢŎŦ ڐژڕڗܗ Ʒʼnĩ ƪĩěŻűĢ ůŻǛĩůĩűƷ ʼnþĢ þŦܮ ƢĩþĢǢĚĩĩűěŻůƟŻƪĩĢŎűڐژڕږܤܒűƷʼnŎƪĚþƪŎƪ܌fƿŻĢŎþłűŻƪĩĢŎűSinfonia “suppressed political over- tones that would jeopardize a harmonious image of American freedom and democracy. […]

SþƢłƿĩƷʼnþƷĩƢŎŻþěěĩĢĩĢƷŻGĩŻƢłĩfĩűűþűܼƪڐژڕڔĩǡʼnŻƢƷþƷŎŻűƷŻþƢƷŎƪƷƪƷŻܻŁŻƢĚĩþƢܼƢþƷʼnĩƢƷʼnþű to criticize directly America’s failings.”^ڝڙڞ ȃĩ ʼnŎƪƷŻƢŎþű þűĢ ĢŎƟŦŻůþƷ GĩŻƢłĩ Fܒ fĩűűþű܌ Ʒʼnĩ ŎűǛĩűƷŻƢŻŁěŻűƷþŎűůĩűƷƟŻŦŎěǢ܌ŎűþàʼnŎƷĩNŻƿƪĩƪƟĩĩěʼnŎűڐژڕڔěþŦŦĩĢŁŻƢƪƿěʼnܹƷŻŦĩƢþűěĩܺŻŁ ůĩƢŎěþűþƢƷŎƪƷƪƷŻǜþƢĢƷʼnĩłŻǛĩƢűůĩűƷ܌ŎűĩǡěʼnþűłĩŁŻƢƷʼnĩƿűŦŎůŎƷĩĢŁƢĩĩĢŻůƷʼnþƷʼnĩþDzŁŻƢĢܮ ed them at the same time – in deliberate contrast to the concept of “art as a weapon,” which was attributed to Soviet cultural policy.^ڝڙڟȃĩěŻűěĩƟƷŻŁŁƢĩĩĢŻůƿűĢĩƢŦǢŎűłƷʼnŎƪþƷƷŎƷƿĢĩǜþƪĩůܮ phasized several times by the generally art-friendly administration of the Johnson presidency.

űƷʼnĩŻűĩʼnþűĢ܌ŁƢĩĩĢŻůǜþƪƿűĢĩƢƪƷŻŻĢþƪþܹűĩłþƷŎǛĩܺŁƢĩĩĢŻůŁƢŻůƢĩƪƷƢŎěƷŎŻűƪܣŁƢĩĩĢŻů ŻŁƪƟĩĩěʼn܌ƢĩŦŎłŎŻű܌þűĢþƪƪĩůĚŦǢܤ܌ĚƿƷŻűƷʼnĩŻƷʼnĩƢʼnþűĢþƪþܹƟŻƪŎƷŎǛĩܺŁƢĩĩĢŻůŁŻƢƷʼnĩƢĩƪƟŻűܮ sibility of the artist in society, with the goal of peace and “strengthening the nation,” as formulat-ĩĢĚǢƟƢĩƪŎĢĩűƷdŻʼnűƪŻűŎűڐژڕڔܒ^ڝڙڠfƿŻůþţĩƪŎƷěŦĩþƢʼnŻǜƷʼnŎƪƪƟĩěŎȀěþŦŦǢůĩƢŎěþűěŻűěĩƟƷŻŁ freedom, as represented by the Congress for Cultural Freedom, found paradigmatic expression in Berio’s Sinfonia܋ƷʼnĩǜŻƢţŎűĢŎǛŎĢƿþŦŎǬĩƪƷʼnĩŦŎƪƷĩűŎűłĩǡƟĩƢŎĩűěĩŻŁĩþěʼnƢĩěŎƟŎĩűƷ܌ĩƪƟĩěŎþŦŦǢ since the strategies of perception in relation to the complexity of this text-music collage are heavi- ŦǢĢĩƟĩűĢĩűƷŻűŦŎƪƷĩűŎűłĚþěţłƢŻƿűĢ܌ŦĩǛĩŦŻŁĩĢƿěþƷŎŻű܌þłĩ܌ƟŻŦŎƷŎěþŦþƷƷŎƷƿĢĩ܌ĩƷěܒ^ڝڙڡ In this ƢĩƪƟĩěƷ܌ƷʼnĩǜŻƢţƢĩþŦŎǬĩƪþůþǡŎůƿůŻŁܹűĩłþƷŎǛĩܺŁƢĩĩĢŻůŻűƷʼnĩƢĩěĩƟƷŎŻűŦĩǛĩŦܒǢěŻűƷƢþƪƷ܌

examining SinfoniaþűĢƷʼnĩĩǛŎĢĩűěĩŻŁƟþƪƷþűĢƟƢĩƪĩűƷŦŎƪƷĩűĩƢƪܼƢĩþěƷŎŻűƪƷŻƷʼnĩǜŻƢţ^ڝڙڢůþţĩ the relationship between the art world and reality particularly explicit – albeit with almost no direct reference to daily politics – thus also honoring the aim of “positive” freedom.

Was Berio really a “model composer for America’s cultural Cold War battle,” as Kuo put ŎƷܓ'ŻĩƪƷʼnĩŁŻŦŦŻǜŎűłěŻűěŦƿƪŎŻűűŻƷŁþŦŦƪʼnŻƢƷܓܫܹƪþűSƷþŦŎþűܮĚŻƢűůĩƢŎěþűƢĩƪŎĢĩűƷǜʼnŻ łþƢűĩƢĩĢ ȀűþűěŎþŦ ƢĩƪŻƿƢěĩƪ Ŏű þěþĢĩůŎþ܌ ŁƢŻů ƟƢŎǛþƷĩ ŁŻƿűĢþƷŎŻűƪ܌ þűĢ ŁƢŻů ƟĩƢŁŻƢůŎűł arts organizations, Berio reciprocated his gratitude with a sanitized and apolitical text in the second movement of Sinfonia to prove his allegiance.”^ڝښڙ Berio undoubtedly showed a consider-able understanding of the precarious political situation in his adopted American home, and SinfoniaܣŁŻƢĩǡþůƟŦĩ܌ǛŎþƷʼnĩŎűǛŻŦǛĩůĩűƷŻŁƷʼnĩ®ǜŎűłŦĩ®ŎűłĩƢƪ܌ŦŻűłţűŻǜűŎűƟŻƟƿŦþƢěƿŦ-ƷƿƢĩĚĩŁŻƢĩƷʼnĩǜŻƢŦĢƟƢĩůŎĩƢĩŻŁĩƢŎŻܼƪǜŻƢţܤůþǢĩǛĩűĚĩƪŻůĩƷʼnŎűłŦŎţĩþܹĢĩƪŎłűĩĢƪƿěěĩƪƪܺ

ܣrŻƢƷŻű®ƿĚŻƷűŎěţ^ڝښښܤܒ/ǛĩűƪŻ܌ǜĩěþűěŦĩþƢŦǢƪĩĩƷʼnþƷSinfonia is by no means the result of a politically corrupted aesthetic, but draws on the achievements of serial music – the autonomy of the individual in the context of a still-related whole, as well as the treatment of the various ƷĩǡƷƪŻƿƢěĩƪܫŎűƷʼnĩƷƢþĢŎƷŎŻűŻŁƷʼnĩŦþƷĩڐژڔڏƪþűĢڐژڕڏƪSprachkomposition – the emancipation ڸڴڸ Īƣŏż܉ܶ¼ŊĪ żŰƠżƫĪƣżŲNŏƫàżƣŤ܏ܷ®ĪĪfǀż܉ܶ żŰƠżƫŏŲŃŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷڍڏړ܏

ڸڴڹ fǀż܉ܶ żŰƠżƫŏŲŃŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷݎڏڍ܏

ڸڴں GĪżƣŃĪF܏fĪŲŲÿŲ܉ܶ¼ŊĪƣƸƫÿŲģŰĪƣŏĜÿŲ®żĜŏĪƸǣ܉ܷàŊŏƸĪNżǀƫĪ®ƠĪĪĜŊڍڑܕڒܕڍڕڒڑ܉ƢǀżƸĪģŏŲfǀż܉ܶ żŰƠżƫŏŲŃ ŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷݎڍڑڌܨڍڑڍ܏

ڸڴڻ ¥ǀżƸĪģŏŲfǀż܉ܶ żŰƠżƫŏŲŃŰĪƣŏĜÿŲSŲģŏǜŏģǀÿŧŏƫŰ܉ܷڍڔڏܨڍڔڐ܏

ڸڴڼ Sěŏģ܏܉ڍڒڕܨڍڔڌ܏

ڸڴڽ ®ĪĪŏěŏģ܏܉ڍڑڔܨڍڒڕ܏

ڸڵڴ Ibid.

ڸڵڵ ¥ǀżƸĪģŏŲŏěŏģ܏܉ڍڒڏ܏

ŻŁƷʼnĩƪŻƿűĢŻŁŦþűłƿþłĩŁƢŻůƷʼnĩěŻűƷĩǡƷŻŁůĩþűŎűłܒȃĩƢĩŁŻƢĩ܌ƷʼnĩǜŻƢţƟþƢƷŎěŎƟþƷĩƪŎűþű essential development in compositional history. It was not until CoroܫƷʼnþƷŎƪ܌þǼƷĩƢʼnŎƪƢĩƷƿƢű ƷŻ/ƿƢŻƟĩܫƷʼnþƷĩƢŎŻƢĩƪŻƢƷĩĢƷŻþűĩǡƟŦŎěŎƷŦǢŎűƷĩƢěƿŦƷƿƢþŦěŻűěĩƟƷܣůƿƪŎěŁƢŻů£ĩƢƿ܌ ĩűƷƢþŦ ŁƢŎěþ܌þűĢůĩĢŎĩǛþŦþűĢ¦ŻůþűƷŎě/ƿƢŻƟĩþƢĩþŦŦŎűěŻƢƟŻƢþƷĩĢŎűƷŻþƟƢŻűŻƿűěĩĢƪƷƢƿěƷƿƢþŦܮ ism^ڝښڛܤ܌ƟƿƢƪƿŎűłƷʼnĩþŎůƷŻȀűĢܹƢĩŦþƷŎŻűƪĚĩƷǜĩĩűǛĩƢǢĢŎƪƷþűƷƟŻŎűƷƪܒܺ^ڝښڜ Still, a comparable universalistic model in the sense of a concert music “world theater” had already been devel-oped in a mature form in SinfoniaܒȃþƷĩƢŎŻŎűƷʼnĩƪĩǜŻƢţƪþǛŻŎĢĩĢƿűþůĚŎłƿŻƿƪƟŻŦŎƷŎěþŦ ƪƷþƷĩůĩűƷƪܫþƪĩƢűĢŦŻŎƪðŎůůĩƢůþűĢŻĩƪþƷƷʼnĩƪþůĩƷŎůĩŎűʼnŎƪRequiem für einen jungen Dichterܣڐژڕږܫڕژܤ܌ǜʼnŎěʼnŎƪěŻůƟþƢþƷŎǛĩŦǢűƿþűěĩĢŎűŎƷƪƟŻŦŎƷŎěþŦůĩƪƪþłĩ^ڝښڝ – without giving ƿƟƷʼnĩěŻűűĩěƷŎŻűƷŻƷʼnĩƟƢĩƪĩűƷ܌ƪʼnŻƿŦĢĚĩěŻűƪŎĢĩƢĩĢþƟþƢƷŎěƿŦþƢơƿþŦŎƷǢܒȃĩěƿŦƷƿƢþŦþűĢ ƟŻŦŎƷŎěþŦƟƢĩƪĩűƷŎűƷʼnŎƪǜŻƢţŎƪƷþűłŎĚŦĩŁŻƢĩǛĩƢǢŦŎƪƷĩűĩƢþűĢƪŎłűŎȀĩƪþơƿþŦŎƷǢƷʼnþƷěþűűŻƷĚĩ adequately interpreted according to any model based on the polarizations of the Cold War, no matter how much these were undoubtedly involved in Berio’s concept.

܇܇܇

Sű ƪƿů܌ Ʒʼnĩ ƷʼnƢĩĩ ěþƪĩ ƪƷƿĢŎĩƪ ĢŎƪěƿƪƪĩĢ Ŏű ƷʼnŎƪ ěʼnþƟƷĩƢ ŻDzŁĩƢ ŎůƟŻƢƷþűƷ ʼnŎƪƷŻƢŎěþŦ ŎűƪŎłʼnƷƪ܋

ĢƿƢŎűłƷʼnĩڐژڔڏƪþűĢڐژڕڏƪ܌ůþűǢěŻůƟŻƪĩƢƪěŻűƪěŎŻƿƪŦǢěŻűěĩŎǛĩĢŻŁěŻůƟŻƪŎűłŎűþłŦŻĚþŦ ƟŻŦŎƷŎěþŦ ěŻűƷĩǡƷܗ ƷʼnŎƪ þǜþƢĩűĩƪƪ ŻŁ ܹŎűƷĩƢűþƷŎŻűþŦܺ ƢĩŦþƷŎŻűƪ ƟƢŻǛŎĢĩĢ ŁĩƢƷŎŦĩ łƢŻƿűĢ ŁŻƢ ƿűŎ-versalist concepts, even if they sometimes appeared in a “neo-nationalist” guise, as in Mayu-zumi’s case. However, Cowell’s űłþţƿ, MayuMayu-zumi’s Bugaku, and Berio’s Sinfonia respond to ƷʼnŎƪ ƪŎƷƿþƷŎŻű ǜŎƷʼn ƪƷƢŎţŎűłŦǢ ĢŎDzŁĩƢĩűƷ þűĢ ŎűĢŎǛŎĢƿþŦ þƟƟƢŻþěʼnĩƪ ƷʼnþƷ ěþűűŻƷ Ěĩ ƪƿĚƪƿůĩĢ under any shared historical label. Cowell’s American model of a “hybrid music,” an idealized ůŻĢĩŦ ŻŁ ƷƢþűƪĩƷʼnűŎěŎƪůܗ rþǢƿǬƿůŎܼƪ dþƟþűĩƪĩ űĩŻܮűþƷŎŻűþŦŎƪů܌ ŻƟƷŎůŎǬŎűł ƷƢþĢŎƷŎŻűþŦŎƪƷ ƪƷƢƿěƷƿƢĩƪĚǢàĩƪƷĩƢűůĩþűƪܗþűĢĩƢŎŻܼƪƟŻŦŎƷŎěþŦŦǢþĚƪƷƢþěƷĩĢŁŻƢůŻŁƿűŎǛĩƢƪþŦŎƪƷůŻűƷþłĩ܌

ƷŻǜʼnŎěʼnǜĩůŎłʼnƷþĢĢ®ƷŻěţʼnþƿƪĩűܼƪĩůƟʼnþƷŎěܹǜŻƢŦĢůƿƪŎěܺŎĢĩþƪܣދSSܒڑܤ܌ŻěěƿƢƢĩĢܹƪŎůƿŦƷþ-űĩŻƿƪŦǢܺŻűƷʼnĩʼnŎƪƷŻƢŎěþŦƪƷþłĩĚƿƷƷĩƪƷŎŁǢƷŻƢþĢŎěþŦŦǢĢŎDzŁĩƢĩűƷŦŻěþŦ܌ŎűĢŎǛŎĢƿþŦ܌ƟŻŦŎƷŎěþŦ܌þűĢ þĩƪƷʼnĩƷŎěƟƢĩěŻűĢŎƷŎŻűƪŻŁěŻůƟŻƪŎƷŎŻűþŦěƢþǼƷƪůþűƪʼnŎƟ܌ƪƷƢƿěƷƿƢþŦþűĢƷŎůĚƢþŦŻƢłþűŎǬþƷŎŻű܌

performance, and reception. At the same time, all three composers were inclined to under- ƪƷþűĢƷʼnĩŎƢůƿƪŎěþƪƟþƢƷŎěƿŦþƢŦǢܹƟƿĚŦŎě܌ܺŦŎűţŎűłƷʼnĩŎƢěŻůƟŻƪŎƷŎŻűƪƷŻůþűǢŻŁƷʼnĩŻƷʼnĩƢǜŻƢţƪ ůĩűƷŎŻűĩĢĩþƢŦŎĩƢŎűƷʼnŎƪěʼnþƟƷĩƢ܌ƷŻǜʼnŎěʼnŻűĩůŎłʼnƷþĢĢŎĢŎŻƪǢűěƢþƷŎěƟŎĩěĩƪŦŎţĩhƿŎłŎtŻűŻܼƪ SűƷŻŦŦĩƢþűǬþږڞڛڕܣڐژڕڏܤ܌¼ƔƢƿ¼þţĩůŎƷƪƿܼƪNovember Stepsܣڐژڕږܤ܌ĩƢűĢŦŻŎƪðŎůůĩƢůþűűܼƪRe-quiem für einen jungen Dichterܣڐژڕږܫڕژܤ܌ŻƢŦŁƢĩĢ®ěʼnűŎƷƷţĩܼƪFŎƢƪƷ®ǢůƟʼnŻűǢܣڐژږڑܤܒ'ĩƪƟŎƷĩƷʼnĩ ĩǛŎĢĩűƷƟŻŦŎƷŎěþŦŎůƟþěƷŻŁþŦŦƷʼnĩƪĩǜŻƢţƪ܌ŎƷƪĩĩůƪþěŦĩþƢƿűĢĩƢĩƪƷŎůþƷŎŻűŻŁƷʼnĩŎƢƪĩůŎŻƷŎě þůĚŎłƿŎƷǢ ƷŻ ƢĩĢƿěĩ Ʒʼnĩů ƷŻ ůĩƢĩ ܣŎŁ ƟþƢƷŦǢ ƿűěŻűƪěŎŻƿƪܤ ƢĩþěƷŎŻűƪ ƷŻ ܣŻƢ ƢĩƪƿŦƷƪ ŻŁܤ ƟŻŦŎƷŎ-cal discourses. By continuously reframing and reconsidering established concepts of iden-tity, all these composers ultimately contributed to challenging the global hegemony of estab- ŦŎƪʼnĩĢàĩƪƷĩƢűěŻűěĩƟƷƪŻŁůƿƪŎěܒ'ĩƪƟŎƷĩƷʼnĩǛþƢŎŻƿƪűŻűܮƪǢűěʼnƢŻűŻƿƪƟƢŻěĩƪƪĩƪŎűǛŻŦǛĩĢŎű the political and musical layers of their musical aesthetics, the anti-traditionalist impulse of

ڸڵڶ ŲƸŊĪƣĪłĪƣĪŲĜĪŏŲĪƣŏżܹƫCoroƸżƸŊĪŰǀƫŏĜżłƸŊĪ ĪŲƸƣÿŧłƣŏĜÿŲÿŲģÿhŏŲģÿŏŲ®ŏŰŊÿƣżŰܹƫƸƣÿŲƫĜƣŏƠƸŏżŲ܉

ƫĪĪ®ĜŊĪƣǭŏŲŃĪƣ܉ܶhǀĜŏÿŲżĪƣŏżܹƫCoro” ÿŲģ'ƣĪǣĪƣ܉ܶ¼ŊĪżƣŏĪÿǀƫģĪƣFĪƣŲĪ܉ܷڑڏܨڑڒ܏SŲSequenza XIV for Violoncel-ŧżܠڎڌڌڎܡĪƣŏżǝżƣŤĪģǝŏƸŊŏŲłżƣŰÿƸŏżŲłƣżŰƸŊĪƫżŧżŏƫƸÿƸƸŊĪƠƣĪŰŏĪƣĪ܉¦żŊÿŲģĪ®ÿƣÿŰ܉ÿěżǀƸƸƣÿģŏƸŏżŲÿŧ ƣŊǣƸŊŰŏĜŰżģĪŧƫłƣżŰ®ƣŏhÿŲŤÿܠģĪ®ÿƣÿŰܹƫŲÿƸŏǜĪĜżǀŲƸƣǣܡ܏

ڸڵڷ Berio, Two Interviews܉ڎڏ܏

ڸڵڸ FżƣÿĜżŰƠƣĪŊĪŲƫŏǜĪŏŲƸĪƣƠƣĪƸÿƸŏżŲżłƸŊŏƫŰÿšżƣǝżƣŤƫĪĪNŏĪŤĪŧ܉ĪƣŲģŧżŏƫðŏŰŰĪƣŰÿŲŲƫ¦ĪƢǀŏĪŰłdžƣĪŏŲĪŲ jungen Dichter.

the Western postwar avant-garde and its paradoxical allegiance to so-called “traditional” mu-sics reveal a basic ambiguity in postwar music history that, in its best moments, provided im-pressive proof of a general public relevance of art music. Considering the worldwide marginal- ization of art music’s role in later periods and in today’s commercialized and digitalized soci-eties, one cannot help but see this public impact as the primary quality that distinguishes the globalized music of the postwar decades from that of the present.

6. Categories of Intercultural Reception in Western Composition

ȃŎƪěŻűěŦƿĢŎűłěʼnþƟƷĩƢŻŁƟþƢƷSSþƷƷĩůƟƷƪƷŻĢƢþǜþĚƢŻþĢĩƢƟŎěƷƿƢĩŻŁŎűƷĩƢěƿŦƷƿƢþŦěŻůƟŻ-ƪŎƷŎŻű Ŏű Ʒʼnĩ àĩƪƷ Ʒʼnþű Ʒʼnĩ þĢůŎƷƷĩĢŦǢ űþƢƢŻǜ ŁŻěƿƪĩƪ ŻŁ Ʒʼnĩ ƷʼnƢĩĩ ƟƢĩěĩĢŎűł ěʼnþƟƷĩƢƪܒ ȃĩ intention here is to follow the development of basic aesthetic and technical paradigms from the immediate postwar period to the more recent decades of the late twentieth and early twenty-ȀƢƪƷěĩűƷƿƢŎĩƪܒŦƷʼnŻƿłʼnܹƷƢþűƪűþƷŎŻűþŦܺƟĩƢƪƟĩěƷŎǛĩƪěĩƢƷþŎűŦǢƟƢĩĢŻůŎűþƷĩŎűƷʼnĩŁŻŦŦŻǜŎűł܌

the exclusive attention given to Western composers may appear at odds with the “entangled”

ƟĩƢƪƟĩěƷŎǛĩƪĢĩǛĩŦŻƟĩĢŎűƷʼnĩƟƢĩěĩĢŎűłěʼnþƟƷĩƢƪܒŁěŻƿƢƪĩ܌ǜĩůƿƪƷþěţűŻǜŦĩĢłĩƷʼnþƷůþűǢ compositional processes, decisions, and innovations since the postwar period were and are ƪƷŎŦŦĢĩĩƟŦǢĢĩƟĩűĢĩűƷŻűƪƟĩěŎȀěƟƢŻěĩƪƪĩƪƷʼnþƷàĩƪƷĩƢűůƿƪŎěʼnŎƪƷŻƢǢʼnþƪěƢĩþƷĩĢܒȃĩŎů-pact of John Cage, explored at the beginning of this chapter, is surely a case in point. Also, þƪƷʼnĩȀűþŦƟþƢƷŻŁƷʼnŎƪěʼnþƟƷĩƢŻűěŻůƟŻƪŎƷŎŻűƪŁŻƢƷʼnĩ ʼnŎűĩƪĩůŻƿƷʼnŻƢłþűsheng demon- ƪƷƢþƷĩƪ܌ Ʒʼnĩ ůŎłƢþƷŎŻű ŻŁ ƟĩƢŁŻƢůĩƢƪ þűĢ ěŻůƟŻƪĩƢƪ ƷĩűĢƪ ƷŻ ůþţĩ þ űĩþƷ ĢĩȀűŎƷŎŻű ŻŁ Ʒʼnĩ

ܹàĩƪƷܺ ŎűěƢĩþƪŎűłŦǢ þƢĚŎƷƢþƢǢ ŁƢŻů Ʒʼnĩ ȀűþŦ ƟĩƢŎŻĢ ŻŁ Ʒʼnĩ ƷǜĩűƷŎĩƷʼn ěĩűƷƿƢǢ ŻűǜþƢĢ ܫ ĩǛĩű ƷʼnŻƿłʼn ěƿŦƷƿƢþŦ ĩƪƪĩűƷŎþŦŎƪů ܣþƪ ǜĩ ǜŎŦŦ ƪĩĩܤ ǜþƪ ĢŻƿĚƷŦĩƪƪ ƪƷŎŦŦ ƢĩŦĩǛþűƷ þűĢ ŎűǴ ŦƿĩűƷŎþŦ ŁŻƢ musical thought and compositional agency.

ȃĩƪĩŦŁܮƢĩŁĩƢĩűƷŎþŦŎƷǢŻŁƟŻƪƷǜþƢƪĩƢŎþŦܹŦŻłŎěܺþűĢdŻʼnű þłĩܼƪěŻűěĩƟƷŎŻűŻŁþůƿƪŎěܹŁƢĩĩŻŁ ŦŎţĩƪþűĢĢŎƪŦŎţĩƪܺƪʼnþƢĩĢþƪƿƟƟƢĩƪƪŎŻűŻŁĩƷʼnűŎěŦþǢĩƢƪ܋ŎƷŎƪűŻěŻŎűěŎĢĩűěĩƷʼnþƷ þłĩܼƪƷƢþűƪŁĩƢ of the model of “unimpededness and interpenetration” (ǜƿþŎǢƿþűƢŻűłܤ܌ĢĩƢŎǛĩĢŁƢŻůNƿþǢþű Buddhism, to an intentionless continuum of sounds and silences^ڝښڞ emerged in close dialogue with Pierre Boulez’s early serial techniques.^ڝښڟ Both concepts can be equally understood as at-tempts to free music from any form of established grammar or idiom. Postserial Sprachkomposi-tionŻŁƷʼnĩŦþƷĩڐژڔڏƪþűĢڐژڕڏƪ܌^ڝښڠǜʼnŻƪĩƷƢþĢŎƷŎŻűŎƪƪƷŎŦŦþŦŎǛĩƷŻĢþǢ܌ěŻűƷŎűƿĩĢƷŻǴ ŦŎƢƷǜŎƷʼnþƢŎ-łŻƢŻƿƪĩŦŎůŎűþƷŎŻűŻŁƪĩůþűƷŎěěŻůƟŻűĩűƷƪŻŁŦþűłƿþłĩܣƪܤ܌þƪŎűGǢƆƢłǢhŎłĩƷŎܼƪAventuresܣڐژڕڑܤ܌

ǜʼnŎěʼnܣŦŎţĩrþƿƢŎěŎŻfþłĩŦܼƪAnagrama܌ڐژڔږܫڔڗܤǜþƪĚþƪĩĢŻűþůĩƷŎěƿŦŻƿƪŦǢŻƢłþűŎǬĩĢƪǢƪƷĩů of asemantic sounds free from the rules of existing languages. At the same time, Sprachkompo-sitionŎűƪƷŎłþƷĩĢþĢǢűþůŎěƪěŻůƟĩűƪþƷŎűłŁŻƢƪƿěʼnþűĩłþƷŎŻűŻŁŦþűłƿþłĩ܋'ŎĩƷĩƢ®ěʼnűĩĚĩŦܼƪ GŦŻƪƪŻŦþŦŎĩڛږܣڐژڕڐܫڕڔܤ܌ĢŎƪƷŎűłƿŎƪʼnĩĢĚǢƷʼnĩŎűěŦƿƪŎŻűŻŁþűþĚƿűĢþűěĩŻŁŦþűłƿþłĩþűĢþƢƷŎěƿŦþ-ƷŎŻűƪǢƪƷĩůƪ܌þűĢfþƢŦʼnĩŎűǬ®ƷŻěţʼnþƿƪĩűܼƪƿűŎǛĩƢƪþŦŎƪůŻŁƷʼnĩڐژڕڏƪ܌ǜʼnŎěʼněƿŦůŎűþƷĩĢŎűƷʼnĩ ěŻűƷƢŻǛĩƢƪŎþŦĩŦĩěƷƢŻűŎěǜŻƢţƪTelemusikܣڐژڕڕܤþűĢNǢůűĩűܣڐژڕڔܫڕږܤܣދSSܒڑܤ܌ěþűĚĩƟĩƢěĩŎǛĩĢþƪ łŦŻĚþŦŦǢĩǡƟþűĢĩĢþƷƷĩůƟƷƪƷŻƢĩěþƟƷƿƢĩƷʼnĩþĚŎŦŎƷǢŻŁůƿƪŎěƷŻܹƪƟĩþţܺŎűĢŎDzŁĩƢĩűƷŎĢŎŻůƪþűĢ ڸڵڹ See Pritchett, The Music of John Cage܉ړڐܨړڔ܉fŧĪŏŲ܉ܶGĪŃĪŲƫĪŏƸŏŃĪ'ǀƣĜŊģƣŏŲŃǀŲŃǀŲģtŏĜŊƸܫĪŊŏŲģĪƣǀŲŃ܉ܷÿŲģ

ÃƸǭ܉Neue Musik und Interkulturalität܉ړڔܨڔڐ܏

ڸڵں ®ĪĪtÿƸƸŏĪǭÿŲģ£ŏĪŲĜŏŤżǝƫŤŏ܉Pierre Boulez – John Cage. Correspondance et documents.

ڸڵڻ ®ĪĪfŧdžƠƠĪŧŊżŧǭ܉Sprache als MusikłżƣÿŲŏŲƸƣżģǀĜƸŏżŲŏŲƸżƸŊĪŤĪǣǝżƣŤƫżłGĪƣŰÿŲSprachkomposition, and ÃƸǭÿŲģhÿǀ܉Vocal Music and Contemporary IdentitiesłżƣÿěƣżÿģĪƣłĪǝżŲŏŲƸĪƣĜǀŧƸǀƣÿŧƸĪŲģĪŲĜŏĪƫŏŲƸǝĪŲƸŏĪƸŊܫ ĜĪŲƸǀƣǣǜżĜÿŧŰǀƫŏĜ܏

colors. A negative of these ethnicized attempts at a “universal language” appeared in Kagel’s ŎƢŻűŎěĢĩěŻűƪƷƢƿěƷŎŻűŻŁŎűƷĩƢěƿŦƷƿƢþŦůƿƪŎěܮůþţŎűłŎűExoticaܣڐژږڐܫږڑܤܒ^ڝښڡ

®ƿěʼn þű ĩǡƟŦŎěŎƷ ƿűŎǛĩƢƪþŦŎƪů܌ ĚþƪĩĢ Żű þ ěŻűŁƢŻűƷþƷŎŻű܌ ěŻűűĩěƷŎŻű܌ ŻƢ ܣŎű ®ƷŻěţʼnþƿƪĩűܼƪ ěþƪĩܤܹŎűƷĩƢůŻĢƿŦþƷŎŻűܺ^ڝښڢ between cultural idioms, and the proclaimed “universal” meaning of ƟŻƪƷܮڐژړڔěŻűěĩƟƷƪŻŁŦþűłƿþłĩěƢŎƷŎěŎƪůŎűƪĩƢŎþŦůƿƪŎě܌þƢĩŻűŦǢƷǜŻƪŎĢĩƪŻŁƷʼnĩƪþůĩěŻŎűܒÃŦ-ƷŎůþƷĩŦǢ܌ĚŻƷʼněþűŻűŦǢĚĩƿűĢĩƢƪƷŻŻĢŎűƷʼnĩŦŎłʼnƷŻŁƪƟĩěŎȀěůŻǛĩůĩűƷƪŎűàĩƪƷĩƢűěƿŦƷƿƢþŦþűĢ music history during the twentieth century. In this way, they are recognizable as a form of West- ĩƢűĩǡěĩƟƷŎŻűþŦŎƪůܒ®ƿěʼnƿűŎǛĩƢƪþŦŎƪůƟƢŻǛĩƪĩƪƟĩěŎþŦŦǢĢĩƟĩűĢĩűƷŻűŦŻěþŦĢŎƪěŻƿƢƪĩƪ܋ƷʼnĩþƟ-ƟƢŻƟƢŎþƷŎŻűŻŁěƿŦƷƿƢþŦŎĢŎŻůƪ܌ƿƪƿþŦŦǢƢĩŁĩƢƢĩĢƷŻþƪܹŁŻƢĩŎłűܺŻƢĩǛĩűܹĩǡŻƷŎě܌ܺƷþţĩƪƟŦþěĩƪŻŦĩŦǢ ǜŎƷʼnŎűƷʼnĩƪƟĩěŎȀěŦŻłŎ쯣þƪŎűłŦĩǜŻƢţ܌ƞƿǛƢĩ܌ŻƢěƿŦƷƿƢĩܒȃĩŁþŎŦƿƢĩŻŁƷʼnĩƪĩþƟƟƢŻþěʼnĩƪ܌ǜʼnŎěʼn ʼnþƪŎűƷĩűƪŎȀĩĢěƢŎƷŎěŎƪůŻŁþƟƟƢŻƟƢŎþƷŎŻűƪƷƢþƷĩłŎĩƪŎűƷʼnĩtĩǜłĩůŻǛĩůĩűƷþűĢěŻůůĩƢěŎþŦ ǜŻƢŦĢůƿƪŎěƪŎűěĩƷʼnĩڐژږڏƪܣދݑSSܒڑܤ܌ʼnþƪƷƿƢűĩĢƷʼnĩĩůƟʼnþƷŎěƪţĩƟƷŎěŎƪůŻŁěƿŦƷƿƢþŦŦǢĩűěŻĢĩĢ ůƿƪŎěþŦŎĢŎŻůþƷŎěƪŎű/ƿƢŻƟĩþűůƿƪŎěþǼƷĩƢڐژړڔŎűƷŻþůƿƪŎěܮþĩƪƷʼnĩƷŎěůþŎűƪƷƢĩþůܫþĢůŎƷƷĩĢŦǢ ǜŎƷʼnƪŎłűŎȀěþűƷĩǡěĩƟƷŎŻűƪþűĢþűĩǜþǜþƢĩűĩƪƪŻŁłŦŻĚþŦŎűƷĩƢĢĩƟĩűĢĩűěŎĩƪƪŎűěĩƷʼnĩڐژژڏƪܒSű ƷʼnĩŁŻŦŦŻǜŎűł܌þƪţĩƷěʼnܮŦŎţĩƢĩƟƢĩƪĩűƷþƷŎŻűŻŁƷʼnĩĩƪƪĩűƷŎþŦƟþƢþĢŎłůƪŻŁàĩƪƷĩƢűěŻůƟŻƪĩƢƪܼŎű-ƷĩƢěƿŦƷƿƢþŦƢĩěĩƟƷŎŻűƪŎűěĩƷʼnĩƟŻƪƷǜþƢƟĩƢŎŻĢŎƪŎűƷĩűĢĩĢƷŻĚƢĩþţƿƟþűĢĢŎDzŁĩƢĩűƷŎþƷĩƷʼnĩܹŁþŦƪĩ ƟŻŦþƢŎƷǢܺĚĩƷǜĩĩűþěŻůƟŻƪŎƷŎŻűþŦƪĩŦŁܮƢĩǴŦĩǡŎǛŎƷǢþűĢƷʼnĩĢŎƪƪŻŦƿƷŎŻűŻŁěƿŦƷƿƢþŦŎƪƷƟþƢþĢŎłůƪܒ

Im Dokument Music and Sound Culture (Seite 130-137)