The Development of Luciano Berio's Sequenza IX and Its Implications for Performance Practice

ABSTRACT

Luciano Berio’s Sequenza IX continues to be a bifurcated work filled with incongruities between its clarinet (IXa) and alto saxophone (IXb) versions. Dozens of unexplained discrepancies exist between these two versions, such as differences in pitch, rhythm and temporal duration, missing material, and expressive markings. It also appears that many technical concessions were made in regard to the saxophone version’s octave registration, low register articulations, and cut passages. Furthermore, some practical problems are associated with the saxophone version of Sequenza IX, such as unreliable multiphonic fingerings and difficult page turns. This study addresses these heretofore unresolved issues by interviewing musicians who collaborated with Luciano Berio in creating and performing Sequenza IXb, including Iwan Roth, John Harle, and Claude Delangle. This study also engages in comparative analysis of all published editions and examines Berio’s primary documents, manuscripts, and correspondence archived at the Paul Sacher Stiftung in Basel, Switzerland. The genesis, development, and evolution of Sequenza IXb are illustrated through establishing a new oral chronology. An exhaustive catalogue of every observed discrepancy and change between each manuscript and edition of Sequenza IXb is created, as well. Finally, this study synthesizes the aforementioned findings to produce practical recommendations for saxophonists, including suggested changes to the score, revised program note material, alternative options for multiphonic fingerings, suggestions for navigating the problematic page turns, and performance practice considerations. The findings from this study will allow saxophonists to achieve more authentic performances and teaching of Luciano Berio’s cornerstone unaccompanied saxophone work, Sequenza IXb.

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YEAR AND DEGREE

2023, Doctor of Musical Arts (DMA), Bowling Green State University, Contemporary Music.

COMMITTEE

John Sampen, D.M.A. (Committee Chair)
Hyeyoung Bang, Ph.D (Other)
Ryan Ebright, Ph.D (Committee Member)
Marilyn Shrude, D.M.A. (Committee Member)

PAGES

139 p.

CITATIONS

Heaney, J. (2023). The Development of Luciano Berio's Sequenza IX and Its Implications for Performance Practice [Doctoral dissertation, Bowling Green State University]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1683814666450399
APA Style (7th edition)

Heaney, Joshua. The Development of Luciano Berio's Sequenza IX and Its Implications for Performance Practice. 2023. Bowling Green State University, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1683814666450399.
MLA Style (8th edition)

Heaney, Joshua. "The Development of Luciano Berio's Sequenza IX and Its Implications for Performance Practice." Doctoral dissertation, Bowling Green State University, 2023. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1683814666450399
Chicago Manual of Style (17th edition)

Berio’s Sequenza IX: Enticing the Listener

PREFACE

             Sequenza IX is a contemporary work by Italian composer Luciano Berio written for solo clarinet (version “IXa”) or solo saxophone (version “IXb”). Since its creation, Sequenza IX has proven itself to be an enduring staple of the contemporary clarinet and saxophone repertoire. Framing and analysis of this work reveals factors that explain why this work has maintained such lasting appeal with both performers and listeners over the course of four decades. First, one must frame the work through contextualizing the background of the composition and composer as well as surveying existing theoretical literature. Then, one may begin analysis first from a birds-eye perspective of the whole work, then by means of a detailed analysis of the first section of the work. Approaching the analysis of Sequenza IX in this manner provides insights into how the piece functions as well as broader theories concerning how the work balances chaos and control to facilitate enticing the listener.

BODY

             Luciano Berio initiated his Sequenza series in 1958 with Sequenza I for solo flute. The series, which encompasses fourteen virtuosic works written for flute, harp, female voice, piano, trombone, viola, oboe/saxophone, violin, clarinet/saxophone, trumpet, guitar, bassoon, accordion, and cello, sought to explore the potential colors, extended techniques, and technical limitations of each instrument while remaining idiomatic in nature. In addition to exploring the limitations of idiomatic technique, the works also intended to explore the limitations of melodic writing, thematic abstraction, and “horizontal” listening. Regarding themes within his Sequenzas, Berio wrote in 2006, “The theme in itself [sic] has disappeared; it has become fragmented, hidden, though it pervades all the textures, coloring them with its colors: it is everywhere and nowhere at the same time.”[1]

            Published in 1982 but backdated to 1980, Sequenza IX was adapted from material composed in a preexisting work, Chemins V, which was originally written in 1979 for Clarinet and “Digital Filters”. These digital filters were intended to imitate vowel phonates, provide a sort of “shadow” performer, and were made possible by the IRCAM 4C digital processor invented by Italian physicist Giuseppe Di Giugno. Chemins V was premiered on a concert of Berio’s music by Michel Arrignon on April 26, 1980 at the Théâtre d'Orsay in Paris, France. Unfortunately, the premiere proved unsuccessful due to the computer failing during the performance. Even when the computer functioned properly, Berio still felt unsatisfied by the resulting product and decided to rework the existing material into a new work for solo clarinet.[2]The work, now retitled Chemins “ex” V, was expunged from the composer’s catalogue while the title Chemins V was repurposed for a different work for guitar and chamber orchestra. Curiously, Pierre Boulez’s Dialogue de l'ombre double,written in 1985 for solo clarinet and spatialized prerecorded clarinet, explores similar “shadow” concepts as the failed Chemins “ex” V and was devoted to Luciano Berio for his 60th birthday; it is possible that this work was inspired by the failure of Chemins “ex” V and sought to reexamine Berio’s ideas in a different manner. 

             Luciano Berio revised the Chemins “ex” V solo clarinet part with Michel Arrignon, while saxophonists John Harle and Iwan Roth independently created differing transcriptions of the part for alto saxophone. Apart from removing improvisatory sections meant to interact with the electronics and adding multiphonics, Sequenza IX, is largely identical to the solo part from Chemins “ex” V.[3] The work is demanding for the performer by virtue of its disjunct intervallic style, use of extended techniques such as quarter tones, multiphonics, rapid articulation, and altissimo, rhythmic precision, and obligatory agility. It is the only member of the Sequenza series to derive its material from a Chemins series work. Berio provides the following program note: 

Sequenza IX for clarinet (I also transcribed it for contralto saxophone) is essentially a long melody implying - like almost every melody - redundancy, symmetries, transformations and returns. Sequenza IX is also a “sequence” of instrumental gestures developing a constant transformation between two different harmonic fields: a seven-note one (F sharp, C, C sharp, E, G, B flat and B natural) [provided in clarinet pitch] appearing always in the same register, and a five-note one appearing in ever-different registers. The latter penetrates, modifies and comments on the harmonic functions of the first seven-note field.”[4]

The work is also accompanied by a poem, written by Italian author Edoardo Sanguineti in 1994: 

“You are unstable and immobile, my fragile fractal. 
It is you, this fractured form of mine that trembles”[5]

Prior analyses of Sequenza IX exist but are limited in number. First, American saxophonist Jonathan Helton analyzed the work as part of his 1996 DMA dissertation, “An Essay on the Performance of Serial Music, with analyses and commentary on works for saxophone by Luciano Berio, Edison Denisov and Guy Lacour.” He also wrote an article, “Historical and Analytical Perspectives for the Performer on Luciano Berio’s Sequenza IXb,” for The Saxophone Symposium, volume 22 in 1998. The 1998 article is essentially a revised extract from the 1996 DMA dissertation and both documents provide very similar material. Helton writes from the performer’s perspective to provide a performance guide for Sequenza IX. His articles include a brief history of the work, analysis of large form, track pitch manipulation techniques, illuminate rhythmic transformations, provide performance suggestions, and elucidate errata.[6]

            Next, Italian musicologist and music theorist Andrea Cremaschi wrote about the work in his 2007 essay, “Sequenza IX for Clarinet: Text, Pre-Text, Con-Text.” This essay was featured as a chapter in a larger book, “Berio’s Sequenzas,” published in 2007 by Routledge and edited by Janet K. Halfyard. Cremaschi’s essay similarly provides historic context for the work as well as deeper information about Chemins “ex” V and its minor differences compared to Sequenza IX. Additionally, the composer analyzes the work using similar techniques as Helton, and describes procedural pitch manipulation deriving from two rows, cycles of rhythmic cells, and a depiction of overall large form. Cremaschi goes further by relating his findings to similar material found in Berio’s 1984 opera, La Vera Storia, and illustrates a clear evolution between the three works. [7]

            Finally, American composer Marilyn Shrude has delivered several lectures on Sequenza IX over the span of her career. The presenter’s notes from these lectures are from two presentations that took place at the Studio Arts College International in 2005 and 2011. Both sets of notes are generally similar and cover similar topics to Helton and Cremaschi. In addition, Shrude discusses phrasing structure, impact of registration, possibilities of pitch centers and diads, and slightly different rhythmic cell possibilities. Helton’s, Cremaschi’s, and Shrude’s contributions on this topic were enormously helpful to forming my own analysis and provided an excellent platform from which my own work can diverge.[8]

            This author’s analysis uses the saxophone version and begins with a broad overview of the larger form of Sequenza IX. The work is approximately 14 minutes long and can be divided into three large sections. These three large sections are divided based on meta-level changes in compositional process. Section 1 begins on Page 1 and ends at the end of Page 3. This section is defined by procedural manipulation of pitch material through recurrent cycles. Additionally, rhythmic material is procedurally manipulated through use of cycling of rhythmic cells. The pitch material in Section 1 derives from 5- and 7-note pitch collections and heavily employs select trichordal subsets. As a whole, Section 1 outlines the broader form of the piece, serves as a microcosm for compositional elements found within the rest of work, and essentially outlines the entirety of the work in miniature.

            Section 2 begins on Page 4 and concludes at the top of page 8 at letter R. This section is defined by a departure from procedural manipulation. Berio instead ventures into manipulation of timbre by means of articulations, flutter tongue, quartertones, timbre trills, and multiphonics. Pitch material likewise warps away from the original 5- and 7-note pitch collections from Section 1 through gradual introduction of additional pitches. The section can be described as an “abstraction” or “fracturing” of material from Section 1 through the lens of timbral exploration.

            Section 3 begins on Page 8 at letter R and concludes with the piece. This section establishes two opposing voices and implied polyphony through distinct registration of various material. Dynamics are alternately terraced between these two voices to enhance the conveyance of the implied polyphony. Additionally, Section 3 marks a return to the pitch material found from Section 1 and intersperses gestures from earlier sections. The work concludes on a B pedal tone, which was also introduced in Section 1 (see Figure 1). 

Figure 1. Chart of the form of Sequenza IX

             Detailed analysis of Section 1 provides greater specifics regarding Berio’s procedural pitch and rhythm manipulation techniques, illuminates large-form pedal tone relationships, and demonstrates how this particular section is extrapolated to explain the work’s engaging qualities. First, Berio clearly establishes two pedal tones, B and A during the introduction of the work (see Figure 2).

Figure 2. Pedal tones in intro section, page 1. B pedal tones are red, while A pedal tones are blue. Passing or foreshadowing tones are otherwise marked.

These pedal tones provide the basis for a thru-narrative for the listener to track beneath the complex manipulations and ample material that surrounds these simple tones. The competing B and A pedal tones return both later in Section 1 at Letter C through the Section’s conclusion as well at the end of the work. As mentioned before, the work concludes on a fermata B pedal tone, which demonstrates a “victory” of B over A (see Figure 3). 

Figure 3a: End of Section 1

Figure 3b. End of Section 3. B pedal tones at the end of end of Section 1 compared with B pedal tones used end of the work

            In Section 1, Berio employs clear use of 7- and 5-note pitch collections as the basis for the written material. The 7-note set, which is provided in written saxophone pitch, is D#, A, A#, C#, E, G, G#. This set is the primary pitch material for the work and is very visible on the surface of the music. It is stated verbatim in the grace-note figure on the beginning of the third system of page 1 (see Figure 4).

Figure 4. Grace-note figure with 7-note row, Page 1

The related 5-note set consists of the remaining pitches not used in the 7-note set, which are F, F#, B, C, and D. This second set is used primarily to “pervert” the material from the primary set through gradual selective inclusion. In Section 1, these “perversions” occur at part (b), which begins on the 2nd page and concludes at letter C, as well as in the closing which begins at on the 3rd system of page 3 through the rest of the page. As such, this pitch collection is not quite as important as the 7-note set and is generally employed in a manner that is implied rather than directly on the surface. In addition to pitch collections, Berio employs rhythmic cells in Section 1. These cells are introduced immediately on page 1 at but are most apparent at letter A. Four cells are provided: 8th-note triplet, dotted 8th+32nd, 8th+8th, and dotted 16th+32nd+8th. These cells well be henceforth referred to as RC1, RC2, RC3, and RC4 (see Figure 5). 

Figure 5. Rhythmic Cells employed in Sequenza IX

             Having established two pitch collections and four rhythmic cells, Berio employs systematic procedural manipulation to engage the listener and create ongoing variation. This manipulation is most clearly displayed at letter A. Pitch manipulation is achieved via a mod-11 pitch sequence, D#, C#, A, E, A#, G#, D, G, E, F, A, combined with a mod-12 pitch count per phrase. The consequence of this discrepancy is a current cycling of pitches per phrase. Phrase 1 begins on Pitch 1 of the cycle, Phrase 2 begins on Pitch 2, Phrase 3 begins on Pitch 3, and Phrase 4 begins on Pitch 4. Meanwhile, a similar effect is achieved through cycling the mod-4 rhythmic cell collection. As a result, Phrase 1 begins on RC1, Phrase 2 begins on RC2, Phrase 3, begins on RC3, and Phrase 4 begins on RC4 (see Figure 6).

Figure 6. Cycling of rhythmic cells and pitch collections at letter A, resulting in "procedural variation"

This concurrent systematic cycling of the pitch sequence and rhythmic cells results in ongoing “procedural variation”. This variation ends with a G-C#-A# pianissimo echo, found at the end of page 1. This echo circles and implies a B, which is the final pedal tone found at the conclusion of the piece (see Figure 7).

Figure 7. Echo at the end of Page 1

            Another sequence of “procedural variation” occurs at part (b), which occurs from beginning of page 2 through system 5 of said page. Unlike the prior sequence, precisely structured rules are not evident due to the presence of “false starts” and echoes throughout the section which routinely break the rules. This second sequence also introduces timbral variation in the form of quarter tone fingerings found at the end of the third system, which foreshadows Section 2 of the work. Finally, the use of A# as a pedal tone throughout part (b) and the subsequent transition implies that these sequences are fractured adjuncts of the prior material and introduces ideas to be more fully realized in Section 2 (see Figure 8).

Figure 8. False starts, echoes, and other perversions found in part (b)

            Part (c), which occurs on system 6 of page 2 through system 1 of page 3, introduces a new 6-note pitch sequence, B, G, C, F, F#, D (see Figure 9).

Figure 9. Recurring cycle at part (c)

Most of these notes, apart from the G, are taken from the aforementioned 5-note pitch collection with a “perverting” quality. This 6-note sequence is varied by using the same rhythmic cell cycle from letter A, but in reverse order (RC4, RC3, RC2, RC1). Additionally, the pedal point of B returns through its use in primarily high or low registers, which lends aural prominence. At the 11th repetition of the cycle, the sequence becomes “perverted” by gradual inclusion of notes outside of the 6-note pitch sequence. Furthermore, the pedal point shifts to A (see Figure 10).

Figure 10. 11th repetition of the cycle at (c) and the change to an A pedal tone

After reputation 18 of the cycle, the “procedural variation” ultimately spins off into the closing section, which begins on the 3rd system of page 3. This closing section briefly introduces a new pedal point, D#. Being the tritone of the prior pedal point, A, and the medient of next pedal point, B, this new pitch allows for smooth resumption of the B vs. A conflict from page 1. This second round of conflicting B and A pedal tones begins on the fifth system of page 3 and ultimately resolves at the end of page 3 with the dominance of B. This dominance of the B pedal tone at the end of Section 1 corresponds with a similar dominance of the B pedal tone at the conclusion of the piece (see Figure 11). 

Figure 11. Closing "spinning-off" section with pedal alternation.

            In addition to “procedural variation” based on concurrent cycles, Berio also employs use of select trichordal subsets inherent to the pitch material. The most prominent trichords include frequent alternation between (016) and (026), while (036) is also used sparingly in moments of transition. Alternation between (016) and (026) is most consistently used in the most organized and procedural sections, such as part (a) and part (c). Part (b) begins with using this alternation but ultimately abandons it on the fourth, fifth, and sixth systems of page 2 during the transition to part (c). Alternation between (016) and (036) is closely associated with presence of the B pedal tone and completely absent from any sections that employ A or D# pedal tones. Through alternation of these trichords combined with alternation between B and A pedal tones, Berio creates a sense of conflict within conflict as well as emphasizes stronger contrasts between competing material. Finally, the presence of the primary (016) and (036) tritones exclusively over B pedal points creates a sense of home and desired structure to these pedal points, which guides the listener to desiring B as the resolving tone.

CONCLUSION

            Section 1 of Sequenza IX depicts a dichotomy between control and abstraction. Outside of the music, this dichotomy is described by Berio’s polemic on themes being hidden as well as Sanguineti’s poem on fragile fractal relationships. Within the music, the dichotomy is realized through the contrast of “procedural variation” sections at letters A and C with freer “perverted” sections in between. It is also embodied when spinning-off at the end of Section 1 as the Berio begins to explore non-procedural timbral development in Section 2. The listener can track the concurrent cycles of pitch or rhythmic cells as well as the underlying alternation between the B and A pedal points, which in themselves embody conflict. Sections associated over the B pedal point rely upon previously described “procedural variation,” and represent control; conversely, sections over the A pedal point eschew these procedures in favor of rule-breaking and perversions and embody chaos. The pedal B ultimately resolves Section 1 but is entirely abandoned in the amorphous Section 2, only for it to return at the conclusion of the work at the end of Section 3. Control survives the implied conflict despite an ongoing and seemingly equal presence of chaos throughout the piece. This delicate balance of control and chaos results in an engrossing work, entices the listener with multiple avenues to understanding and engaging with the music, and ensures continued variety and invention of material. Ultimately, these factors provide insights into how the piece functions, demonstrates how the work balances chaos and control, and may explain how Sequenza IX continues to entice listeners and performers alike after 40 years.

FOOTNOTES

[1] Luciano Berio, Remembering the Future (Cambridge: Harvard University Press, 2006), 140.

[2] Albert R. Rice, “Luciano Berio, Sequenza IXa for Clarinet Solo,” in Notes for Clarinetists: A Guide to the Repertoire(New York: Oxford University Press, 2017), 14.

[3] Andrea Cremaschi, “Sequenza IX for clarinet: Text, Pre-Text, Con-Text” in Berio’s Sequenzas (Burlington: Ashgate Publishing Company, 2007), 153-170.

[4] Luciano Berio, “Sequenza IX (Program Note),” Centro Studi Luciano Berio, http://www.lucianoberio.org.

[5] Jérémy Joley. “Here Begins the Sequence of Sequences - Sanguineti Verses to Berio's Sequenzas.” Seattle Modern Orchestra, http://www.seattlemodernorchestra.org/2020/02/01/here-begins-the-sequence-of-sequences-sanguinetti-verses-to-berios-sequenzas/. 

[6] Jonathan Helton, “Historical and Analytical Perspectives for the Performer on Luciano Berio’s Sequenza IXb,” Saxophone Symposium, no. 22 (1997).

[7] Andrea Cremaschi, “Sequenza IX for clarinet: Text, Pre-Text, Con-Text” in Berio’s Sequenzas (Burlington: Ashgate Publishing Company, 2007), 153-170.

[8] Marilyn Shrude, “Lecture notes from presentation at SACI. (Studio Arts College International, Florence, Italy, 2005/2011).

BIBLIOGRAPHY

Berio, Luciano. Remembering the Future. Cambridge, Mass: Harvard University Press, 2006. 

Berio, Luciano. Sequenza IXa. Milan: Universal Edition, 1980 kor. 2005

 Berio, Luciano. Sequenza IXb. Milan: Universal Edition, 1980 kor. 1987/2005

 Centro Studi Luciano Berio. “Sequenza IX.” Centro Studi Luciano Berio - Luciano Berio's Official Website, June 2, 2010. April 04, 2021. http://www.lucianoberio.org/en/node/49.

 “Chemins 'Ex' V (1980).” IRCAM B.R.A.H.M.S. Accessed November 20, 2019. http://brahms.ircam.fr/works/work/6770/.

 Halfyard, Janet K, ed. Berios Sequenzas: "Essays on Performance, Composition and Analysis ". Blurlington: Ashgate Publishing Company, 2007.

 Helton, Jonathan. “An Essay on the Performance of Serial Music, with Analyses and 

Commentary on Works for Saxophone by Luciano Berio, Edison Denisov and Guy Lacour,” DMA diss., Northwestern University, 1996

 Helton, Jonathan. “Historical and Analytical Perspectives for the Performer on Luciano Berio’s Sequenza IXb.” Saxophone Symposium 22 (1997): 1–24.

Jolley, Jérémy. “Here Begins the Sequence of Sequences - Sanguineti Verses to Berio's Sequenzas.” Seattle Modern Orchestra, February 15, 2020. April 04, 2021. http://www.seattlemodernorchestra.org/2020/02/01/here-begins-the-sequence-of-sequences-sanguinetti-verses-to-berios-sequenzas/. 

Rice, Albert R. Notes for Clarinetists: A Guide to the Repertoire. New York: Oxford University Press, 2017.

 “Squenza IXa (1980): pour clarinette, d’aprés Chemins ex V.” IRCAM B.R.A.H.M.S. Accessed April 04, 2021. http://brahms.ircam.fr/works/work/6870/.

 “Sequenza IXb (1980): transcription de Sequenza IXa, pour saxophone alto.” IRCAM B.R.A.H.M.S. Accessed April 04, 2021. http://brahms.ircam.fr/works/work/6871/.

 Shrude, Marilyn. Lecture notes. “Lecture notes from presentation at SACI.” (Studio Arts College International, Florence, Italy, 2005).

 Shrude, Marilyn. Lecture notes. “Lecture notes from presentation at SACI.” (Studio Arts College International, Florence, Italy, 2011).

Luciano Berio’s Electroacoustic Music: Presented in Three Phases

PREFACE

Luciano Berio (1925-2003) was among the most prolific composers of the 20th century. Not only did Berio contribute to traditional “classical” instruments and ensemble, he is also regarded as one of the key participants in the development of electronic and digital electroacoustic music. Berio’s contributions to the aesthetic artifacts and technologies in this area span the course of over four decades and represent a long-term commitment to the field. Berio’s contributions can be divided into three phases: (1) early: fixed media, (2) middle: transitional experiments, and (3) late: live digital music. Exploring these phases will illuminate the composer’s specific contributions as well as his journey from fixed analog media to modern live digital techniques.

EARLY: FIXED MEDIA

The early first phase, tape music, roughly coincides with Berio’s co-founding of the Studio di Fonologia Musical di Radio Milano in 1955. This studio, co-founded in collaboration with fellow composer and conductor Bruno Maderna, was intended to provide a third voice for European experimental electronic music (in competition with the Parisian musique concrète and Cologne-based elektronische musik movements). Due to the technologies available at the time, the Fonologia’s output primarily consisted of compositions for magnetic tape. These analog compositions, inherently fixed in quality, were not reactive and predated digital systems. Nonetheless, Berio established a fascination with pursuing sounds and performance opportunities that were note possible through traditional acoustic and concert-music practice means.

Photo of Luciano Berio, Marino Zaccheri, Bruno Maderna, Alfredo Lietti, Nino Castelnuovo at Studio Fonologia, Milan.

Among Berio’s early compositional experiments in electronic music were Mimusique (1953) and Mutazioni (1956). These works were unique in the fact that they incorporated both synthetic electronically-generated tones (in the vein of the German elektronische musik) as well as manipulated pre-recorded samples (a la the French musique concrète).

Due to their early prototypical nature, these works are very short by Berio’s usual standard (approximately 2 and 3.5 minutes long respectively) however, provide evidence for future directions to be taken by the composer. Berio would later realize greater aesthetic richness in the medium in two landmark compositions, Thema (Omaggio a Joyce) (1958) and Visage (1961). These works were much longer in duration (6.5 and 21 minutes long respectively) and featured more sophisticated technique and intricate construction. In addition to improved electronic elements, the works also prominently featured the voice of soprano (and then-wife) Cathy Berberian, once again blurring the lines between the otherwise dogmatic divide of the French and German schools. In so doing, Berio codifies his intent to integrate electronic and live performant voices, which is obliquely realized in later developments.

With the exception of his 1975 Chants Paralellès, Berio composed the bulk of his magnetic tape works between 1953 and 1961, thereby demonstrating his desire to grow beyond this fixed medium. Fortunately, these works were not Berio’s final contributions to the electroacoustic realm; instead, they served as the basis for his 1974 appointment as director of the electroacoustic music division of the newly formed Institut de Recherche et Coordination Acoustique/Musique (IRCAM). This position would lead to new phase of experimentation in emergent technologies, such as live signal processing and integration of computers in the performance of live electroacoustic performance.

MIDDLE: TRANSITIONAL EXPERIMENTS

Berio’s middle second phase, transitional experiments, began with the composer being appointed as director of the electroacoustic music division at IRCAM in 1974 by fellow Darmstadt-devotee and IRCAM brainchild, Pierre Boulez. This appointment occurred as IRCAM entered its first period of full post-planning operations. IRCAM’s initial objectives coincided with many of the objectives Berio sought through his landmark tapes works. As stated by Andrew Gerzo, “IRCAM gambled, not on the independence of acoustic composition compared to electroacoustic composition, but rather on the fusion or interaction of the two. In other words, IRCAM embraced the challenge of real time, not for the technological feat it represents, but as a hypothesis of a relationship between electronic writing and the instrumental musical gesture.”

As director, Berio coordinated aesthetic efforts with concurrent scientific developments being made at the institute and navigated IRCAM’s unique dynamic of autonomous divisions combined with scientific research independence. While in this position, Berio’s compositional output was significantly reduced in favor of research efforts. The most significant effort involved inviting Giuseppe di Giugno to the facility to develop live sound processors, which (through a series of revisions) would ultimately culminate into the famous IRCAM/Sogitec 4X computer. However, Berio’s non-published works and research are severely under-documented due to his insistence on administering his division as a secretive and “strictly oral” culture. Georgina Born writes, “The Pedagogy director recalled it thus: ‘Berio made the famous statement, which became law, that we would have no documentation in his studio, because ‘music is an oral culture.’ This was crazy, but it became the standard here…’” Nonetheless, stray documentation and surviving evidence suggest that these years provided critical developments for the composer. Andrea Cremaschi summarizes, “These years were devoted to research and intense experimentation that, even if they left almost no mark in his official catalog as a composer, coincided with a broadening and deepening of his theoretical writing. […] Yet, it was in these years that Berio concentrate his interests on live electronics.”

This interest in live electronics would result a new electroacoustic work that represented IRCAM’s and Berio’s strive to real time musical processing. This work, entitled Chemins (ex) V (1977) for clarinet and live electronics, started development shortly after Berio’s initial appointment and occurred in tandem with development of the 4X computer.Chemins (ex) V was intended to explore the use of “digital filters” that manipulated spectral content of the clarinetist in real-time. These manipulations were meant to imitate timbral effects of vowels and human vocalization.

Chemins (ex) V vowel chart

Giuseppe di Giugno and his 4X computer at IRCAM.

Programmed on the 4C computer (a 4X precursor), this work can be seen as an early precursor to modern digital signal processing techniques employed in runtimes such as Max/MSP. However, unlike today’s GUI-based runtimes, the 4C was very to program for at the time and proved unreliable in performance settings. This issue was further compounded by Berio’s aforementioned resistance to proper documentation, which ultimately resulted in the system being practically unworkable any computer programmer other than Giuseppe di Giugno. At least four versions of the program were developed and became increasingly complex and further unreliable over time. Due to the above factors, as well as a lack of musical fulfilment compared to practical effort, the work was ultimately scrapped, and the title withdrawn by the composer; the clarinet melodic material for would eventually be repurposed in both Sequenza IX (1981) and La Vera Storia (1982). No recording of this work was made, and remaining artifacts can be found in the Paul Sacher Stiftüng in Basel, Switzerland.

Manuscript excerpt of Chemins (ex) V.

While Chemins (ex) V resulted in an impractical failure of a composition, the work nonetheless represented Berio’s first foray into digital media and live electronics processing. The failures of Chemins (ex) V may have discouraged the composer to return to this technology for some time, however, this compositional direction would return in later developments. Berio ultimately departed IRCAM in 1980 following a broader restructuring of the organization by Pierre Boulez. Born conjectures, “…relations between Boulez and the departing codirectors had deteriorated… Boulez described the move as rational streamlining, making IRCAM into… a computer music studio.” This new streamlining, which conflicted with Berio’s intended fusion of electroacoustic and acoustic compositional practices and lead to his departure, eventually resulted in the composer founding a new venture of his own.

LATE: LIVE DIGITAL MUSIC

Following some years departure from composing electroacoustic works, Berio initiated a return to the medium in 1987 by establishing the Tempo Reale in Florence, Italy. Tempo Reale would serve as a hotspot for electronic music research and music technology; much like Studio Fonologia, the center aimed to provide a third Italian voice to this field. As expressed by Francesco Giomi, Berio’s primary objective at Tempo Reale was, “…the creation of a homogenous path between acoustic sources on the one hand (voices and instruments) and electroacoustic sources on the other (live electronics).” Clearly, the flame of Berio’s initial goal to blur the lines between the acoustic performer and electronic element continued to burn. As such, the founding of Tempo Reale signifies the commencement of Berio’s final electroacoustic compositional phase, which would culminate with fully digital live works that continue to be viable by modern technological standards.

Diagram of the Tempo Reale's in-house audio technology setup

Two particular works can represent Berio’s developments during this period: Ofanìm (1988-1997), and Altra Voce (1999). Ofanìm, written for female voice, two children’s choirs, two instrumental groups, and live electronics, sought to minimalize specialization possibilities as well as, in Berio’s words, “adaptability of the musical thought to different spaces and listening situations.” This was achieved through use of a unique wheel-like speaker configuration that surrounded the audience. Additionally, sounds were processed with varying algorithms, which incorporated multiple delays and harmonization, made possible by use of a digital sampler. All processing choices were initially made with the intention of reinforcing the physical “wheel” paradigm; later revisions would involve more haphazard spatialization, leaving the wheel concept to be primary visual rather than aural.

Diagram of Ofanìm's loudspeaker setup.

Diagram of Ofanìm's live delay chain process.

Altra Voce, for mezzo-soprano, flute, and live electronics, is a further evolution and sophistication of the techniques employed in Ofanìm. Berio reflects “Two voices and several instruments “fall in love” and follow one another in a constantly renewing relationship… In Altra Voce, I have liberated one voice (mezzo-soprano) and one instrument (alto flute)… and developed their respective autonomies and harmonic premises by, among other means, using electronics.”

This work was a major step forward in digital sampling, where Berio employed what he called a “sound freeze” technique; this technique is analogous to the modern employment of granular sampling and synthesis. This work also explored spatialization but relied upon a more traditional loudspeaker setup, as opposed to Ofanìm’s unconventional wheel design. Altra Voce can be regarded as Berio’s ultimate realization of the ideal fusion of live and electronic elements. As succinctly written by Francesco Giomi, “…the simple metaphor of ‘falling in love’ leads to a complex polyphony and to a surprising interaction among the three dimensions of sound: vocal, instrumental, and electronic music, which ,while retaining their individual autonomy, seem almost to abandon themselves to each other, creating hybrid situations of striking intensity.”

Diagram of Altra Voce's loudspeaker configuration.

Diagram of Altra Voce's live audio processing procedure.

In 1999, both Ofanìm and Altra Voce received modifications to their electronics runtimes as well as some of the aforementioned musical changes to Ofanìm. As of these revisions, these works are now realized in Max/MSP and can be generally qualified as technologically updated and composed in the vein of today’s modern digital electroacoustic works.

WORKS CITED

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Cremaschi, Andrea, and Francesco Giomi. “Parrrole: Berios Words on Music Technology.” Computer Music Journal 28, no. 1 (2004): 26–36. doi:10.1162/014892604322970625.

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