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WWE 1CD 20038
Luciano Berio
Ekphrasis /Coro
Ekphrasis (Continuo II) 19:12
Coro 59:44
Total Time 01:18:56
The renowned American architects Sullivan, Wright and Mies van der Rohe are the center of attention in the composition Ekphrasis [Continuo II], even though originally Berio had no such thing in mind: "While I was working on Continuo, it was not my intention to compose a metaphor for architecture, or write a homage to the famous Chicago architects... Neither did I refer directly to the amusing but nevertheless solid constructions by Renzo Piano... However, as the work progressed I became aware that this was exactly what had happened." (Berio) For all that, Berio did not aim at following a formal "architectural course" but at creating a "continuously ever-changing landscape of sound, formed out of a grid of recurring patterns" by way of an internal musical process. Coro (1975/76) once again puts the focus of the compositional material on folk music, but not in the same way as for instance in the Folksongs (1964), which were, essentially, original instrumentations. In Coro the composer rather dealt with "different folk music techniques and sound gestures from different cultures," which were "combined occasionally, without referring to specific songs in any way."
Dance music from high-alpine regions and from the low plains, music located somewhere between Schubert, Bartok and a Young Farmers’Ball in East Tyrol. 
Music and carpets? Well, the latter’s slightly irregular patterns certainly inspired Morton Feldman to write his Crippled Symmetry (1983). 
In 1993, the Salzburg Festival presented Nono as a sound seeker in their series "Zeitfluss", focusing on Das atmende Klarsein (1980/81). 
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