Luciano Berio: Piano Music
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Composer: Luciano BerioPerformer: Andrea Lucchesini
Performer: Valentina Pagni Lucchesini
Edition: Music CD
Format: Import
CD Release Date: 2007-05-29
Music Label: Avie
Free Music Notes for Luciano Berio: Piano Music
Free Music Review: not Berio's real voice
Hit: 5 Stars
Berio openly admitted many years ago that the piano confused him in creativity, also the impending cascades of innovations surrounding him as the various Stockhausen "Piano Pieces", the three Boulez "Sonatas", and Cage's "Music of Changes", all music Berio had experienced in concerts. So he began with the "Five Pieces",an early Fifties piece; very clean threadbare music with Berio's penchant for atonal lyricism,haunting kinds of expressions here similar to Dallapiccola sort of hovers in the back, like a sword not of Damocles hanging but perhaps an icon more gentle and nurturing. These "5 pieces" in retrospect still have a sustenance and longevity, even if a modest contribution to the growing avant-garde literature, Certainly more than the incidental dedications "Erdenklavier" dedicated to academics.
The series of "Sequenzas" are then incredible places for the post-modern voice, each devoted to particular cognitive problem(s), structure, timbre, texture and gesture. The piano "sequenza" utilizes two ideas the sustained timbre and the linearity filigree faster, again Berio's music is always reducible to tropes of expression, of fixed timbral structures, shapes and his real voice resides with the human voice,we find impressive creations there "Epiphanie", and those budding ventures with electronics with Cathy Berberian.
Berio kind of mimics himself in utilizing the piano solo center stage in his opera,"In Re Ascolto" where the piano merely (in resignation) accompanies the festivities . . . the 'Sonata'has its own charm and seems to lean into academia,without any new visions, or new contexts which we are far from "at the end of fruitfull lands" as Finnissy, Sciarrino, Rihm, Murail, Dillon,Skempton have revelaed; again a trace of resignation seems in the air rather than a positive development of a viable piano language. I think Berio thought the piano timbre far too limited for his own voice.
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